Covering the Distance (Ewa)

Drawing at a distance (or drawing with a piece of charcoal attached to a stick or piece of bamboo or dowel) is a way of loosening an artist's drawing style or encouraging the artist to draw using their shoulder rather than their wrist.

Henri Matisse also used charcoal attached to a bamboo stick to different effect in his design his Dance mural (1931, Barnes Foundation) or from his bed in his infirm years.

Here are four drawings of Ewa I did earlier this year using a piece of compressed charcoal taped to a dowel rod. At the end of this post you can see an image of distance drawing at my ASOC Portrait and Life Workgroup.

Distance Drawing I (Ewa seated), by Stephen Clively, charcoal on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: This profile study is organised around the relationship between the seated figure and the chair. Long charcoal lines establish the sweep of the hair, the angle of the torso and the position of the legs. Repeated marks reveal small adjustments made during observation, creating a sense of movement within the still pose. Large areas of untouched paper remain active components of the composition, allowing the drawing to retain an open, provisional quality.

Distance Drawing II (Ewa seated), by Stephen Clively, charcoal on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: This drawing brings the figure closer to the picture plane, concentrating attention on the head, shoulders and folded arms. The face is assembled from intersecting lines that search for position and proportion rather than fixed outlines. Areas of charcoal rubbing introduce tonal variation within the otherwise linear structure. The use of an extended drawing stick encourages a direct, economical approach in which observation and mark-making remain closely connected.

Distance Drawing III (Ewa standing), by Stephen Clively, charcoal on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: In this standing pose, the figure is constructed from overlapping contours that shift and adjust across the page. The extended drawing tool encourages long, continuous movements, producing lines that describe both form and motion. The arms and shoulders create the strongest structural elements, while the head and facial features are simplified into a few decisive marks. The drawing emphasises gesture and proportion rather than detailed description.

Distance Drawing IV (Ewa seated), by Stephen Clively, charcoal on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: This drawing records a seated pose through a network of searching charcoal lines made with an extended drawing stick. The figure is built gradually, with multiple observations remaining visible rather than being erased. The chair, torso and crossed legs are suggested with minimal information, while the face is reduced to a small number of structural marks. The resulting image balances observation with uncertainty, allowing the process of looking to remain evident throughout the drawing.

Here is an image from my ASOC Portrait and Life Workgroup, with Colin having a go with the dowel.