TOP These are the rarely seen baselines of a piece. Baselines move fast and I worry along the way, hoping I can keep the piece balanced with waves and mountains. If I hesitate a line goes wrong, so I move fast. This is the hardest part of working freehand. Photo: Logan Summers BOTTOM, LEFT TO RIGHT One day, drawing outside in Patagonia, the wind blew away all my sketches. For the next week, each time I walked to town someone would stop me and return a drawing they had found and recognized as mine. I had given up on this piece. I couldn’t get the detailed lines I wanted, so one day when I was tired of being tight from drawing precise lines I decided to just play and paint. It is one of my favorite accidents. I didn’t like the way one line landed on this drawing and I put it in my drawer for months. When I revisited it, I could only see that line. A year later, I put color to it and more lines and told myself, “I can’t dislike this until it’s done.” When I finally finished it, I fell in love and held it close. 090 EMMA YARDLEY
The Flyfish Journal Volume 13, Issue 2: Page 90
