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Early Pen and Ink Drawings

Drawings 1959 to '61

To Drawings '59 to '61

1961, undated , 51x66cm, ink on paper, estate collection

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Drawings 1964 to '68

To Drawings '64 to '68

1964 Sept. 7, 13x20" 33x51cm, ink on paper, estate collection

There was no distinct settling of style, after Egypt, in the drawings like there was in the paintings. New ideas generated new series at about the same rate as before. Nevertheless the Pen and Ink works of the two time periods have been separated so as to take their place on the Before '64 and '64 to '74 Period Overview Pages with the contemporary paintings. There seems to be no drawings dated from 1968 to 1976.

← Drawings '59 to '64 and Drawings '64 to '68 →

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Sackville Paper Works, 1978-79

To the Sackville Drawings '78-79 Series Page

Oil Paint on Paper

In May and June of 1978 Bloore taught a summer course at Mount Allison University in Sackville, New Brunswick. While it was not a vacation from teaching, it would at least be a pleasant holiday from Toronto.

Sackville Sketch, May 29 1978 (53rd birthday), 46x61cm, pencil, ink, oil on paper

As in holidays of the past Bloore expected to draw and sketch in his idle hours on heavy watercolour paper. But there was a new angle on this pursuit this time. In May 1976, deep into his more than 74 work Byzantine Lights Series, Bloore had done some oil painting on blocked watercolour paper with both brush and knife with positive results, two examples of which hung in the Bloore / Lochhead show of 2021.

In New Brunswick Bloore approached these blocks as requiring composition; some arrangement of completely amorphous forms in completely ambiguous space. He regarded this at first as simply an intellectual exercise, a technical problem that had been solved by others many times before.

To the Sackville Drawings '78-79 Series Page

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Mixed Media on Paper Works 1980

To the Mixed Media Series and Show Page

Pencil, Pen, Brushed Ink, Oil and Gouache

March 2, 1980, 56x76cm, ink, gouache and oil on paper

To the Mixed Media Series and Show Page

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Sumi Ink Works, 1980-83

To the Small Sumi Works page
Or the
Extra Large Sumi Works age

Japanese Sumi Ink and the
First Experiments with Masking

1980, July 1st (804100701) 40x60" 101x151cm, sumi ink on paper

To the Small Sumi Works page
Or the Extra Large Sumi Works age

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Gouache Works, 1980 and 1981

To the Gouaches series page

Architectural Tapes, Templates
and unmodulated colour

1985 June 7th (851090607) 29x41" 78x105cm, gouache on paper

To the Gouaches series page

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The Ink Works of 1983-87

To the Ink Works Overview Page

Architectural Tapes, Black European Inks
and Water: Watercolours in Ink

“The ink drawings are totally different. I haven't made any of those for the last four or five years. They are a total reversal of the paintings, which are carefully calculated. I go into the studio, I stretch or hold down a piece of Arches or Fabriano paper on a board with masking tape and pick up a roll of stuff known as geo-tape. Architects use it. It comes anywhere from a sixty-fourth to a quarter inch in width. It’s quite flexible so you can pick it up, hold it down at one end and go whoosh in a great arc and you've got that piece of geo-tape stuck down there and that gives you a line. I would do this as rapidly as possible, without any preconceived image at all in my mind. I would not know how it was going to turn out. I could even put the first few down with my eyes shut just to make sure. The tape is put down as fast as possible.

1985 June 7th (851090607) 29x41" 78x105cm, ink on paper

“I then have about four or five different black inks. These are European inks; the fifth one is a sumi ink, Chinese or Japanese, it doesn’t make much difference, which is pure black. The European, and I'm not certain about the North American, black inks are made out of two colours, blue and orange. The blue immediately sinks into the paper. The orange is a little slower; it tends to sit on top. So, OK. The “black” inks therefore are not black. They are a combination of those two colours. They vary in mixture with each company. Some, if treated properly will give me a peculiar sort of greenish tinge. If I'm lucky I'll get it after about three or four coats of ink. Another one will give me a purplish colour with sparkle on it, absolutely marvellous. If you blot properly, maybe put the stuff onto wet paper, float it on, and then blot quickly, you get all the orange off and you've got this great, marvellous blue.

“There is a whole range of hues I can get out of this, sort of like using white paints that are not really white at all. But the joy of the times when I was doing those ink jobs was the fact that I could put in diagonal lines. I could play around. I mean some of them look like landscapes, for Christ’s sake. Some of them have little sparkly stars up there and that sort of stuff. I did a lot of those ink jobs, right up the size of forty by sixty inches. Now, those that were that size were done on a slightly more calculated basis than the smaller ones.”

- Excerpt from the Eugene Knapik Interview for Work Seen

To the Ink Works Overview Page

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The Ink Works of 1994

To the 1994 Ink Works Series Page

Tapes and Inks, One More Time

Here Comes the Brown Ground

1994 May 7th (942150507) 22x29" 57x77cm, ink on paper

To the 1994 Ink Works Series Page

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1982
Charcoal Concept Drawings

To the Charcoal Sketches page

Investigating Geometric Motifs

1982 September (CSS82-06) 24x18" 61x46cm, charcoal on paper

To the Charcoal Sketches page

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1985-86
Stencilled Concept
Ink Works

To the Stencilled Concepts page

Investigating Monumental Motifs

1986 March 26th (860326) 24x18" 61x46cm, ink on paper

To the Stencilled Concepts page

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Collages, 1987

To the Collages Series Page

Breaking the Surface

1987 Feb. 5th (873050205) 29x22" 78x56cm, ink on paper on paper

To the Collages Series Page

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Sketches and Doodles

These thumbs go to their various pages

Conceptions, Ideations, Improvisations

Sketches and unstructured explorations on paper are mostly presented among the Miscellaneous pages. Also, there is an article there about Painted Working Drawings and another about regular Working Drawings, the sketches done as designs for paintings. Photographs of working drawings, when we have them, will be included in the Catalog entries of the artworks they relate to. In the case of the tapestries experiment, the only image we have at this point is a photo of an oil sketch working drawing which hung in the Carleton show of 2008.

1978 Feb. 18th, 14x20" 36x51cm, pencil on paper
The Ronald L. Bloore Archives, University of Regina

To the Examining One Page page→
Or the Sunday Sketches page→
Or the Byzantine Lights Sketches page→
Or the Working Drawings page→
Or the Working Oil Drawings page→

Works on Paper
overview page

← black works / TOP / sploores →