Harriet Fell's Drawing with Chuck Holtzman 2021

Drawing with Chuck Holtzman Fall 2021

These are some of my (Harriet Fell) drawings from an online class with Chuck Holtzman to stay sane during 2021 which still feels like 2020.
Click on small images to see larger versions.

Two separate but similar prompts: Imagine one of your new drawings printed on clear acetate and then rolled into a cylinder. Could you make a flat 2D representation of one of you new style drawings as a see-through cylinder. How do you arrange a drawing - actually two drawings on a single sheet, so that the one closest to you is somewhat transparent and the other drawing behind it appears as if it were made by another person.

Two separate but similar prompts:
Imagine one of your new drawings printed on clear acetate and then rolled into a cylinder. Could you make a flat 2D representation of one of you new style drawings as a see-through cylinder.
How do you arrange a drawing - actually two drawings on a single sheet, so that the one closest to you is somewhat transparent and the other drawing behind it appears as if it were made by another person.


Using a black pigmented material, draw a color other than black, a common everyday sound and what doubt looks like when it softens to a whisper.


For this project, the focus, at least on a mechanical level, is to draw each and every mark, and/or line starting from a single point and move in one direction only, either to the right, left, up or down. A little like a force, pulling, pushing or a vague and slightly unknown current that likely will impact the nature of the outcome.


Use either a single sheet of paper or multiple pieces taped together that measures 5 inches high and 36 inches long. With an accumulation of gestures, emphasize an extremely vertical world which begins on the page and is suggested beyond the page.

On a single sheet of paper construct three separate and distinct drawings stacked one on top of another in a single vertical column or totem like arrangement. Each of the three drawing should posses a unique identity that ultimately creates contrasting themes and/or concepts within the overall vertical structure. Here is a list of partial words which can be used with or without words of your own to drive each segment of your column. SEES ULTRAOB INDIFLAVO PAPITCH CRON NYISM JESTA-GESTA I used CRON (crone), SEES, JESTA-GESTA (just a gesture) for my three images

On a single sheet of paper construct three separate and distinct drawings stacked one on top of another in a single vertical column or totem like arrangement. Each of the three drawing should posses a unique identity that ultimately creates contrasting themes and/or concepts within the overall vertical structure. Here is a list of partial words which can be used with or without words of your own to drive each segment of your column. SEES ULTRAOB INDIFLAVO PAPITCH CRON NYISM JESTA-GESTA I used CRON (crone), SEES, JESTA-GESTA (just a gesture) for my three images


The idea is to create a drawing using any material that is based on a visual reshuffling of a beginning middle and end.

Refer to three of your previous drawings going as far back as you like- actual and/or from memory, to identify one element(visual, conceptual, etc) of interest from each piece. You could, for example, choose from a range of strong, exciting, weak, nonsensical, mysterious or any other intriguing characteristics to create a three ingredients recipe from which to construct a new drawing. I only used two previous drawings because attempts to use a third just added clutter.

Refer to three of your previous drawings going as far back as you like- actual and/or from memory, to identify one element(visual, conceptual, etc) of interest from each piece. You could, for example, choose from a range of strong, exciting, weak, nonsensical, mysterious or any other intriguing characteristics to create a three ingredients recipe from which to construct a new drawing. I only used two previous drawings because attempts to use a third just added clutter.


Using an amalgamation of the animal mineral and vegetable metaphor, develop and entity, place or thing that is identity obscure. The skeletons are from a drawing I did in Spring 2021. I printed them on 8.5" x 11" vellum and drew from there.


Create a structure/form that represents a departure from commonly used and known patterns. The idea is to develop a drawing of a ______ that requires you to defy patterns of thinking in order to construct an entity previously unexamined. I replaced ______ with tornado.


Walking in place as the ground beneath moves toward you: This effort would resemble the activity of walking and focusing -or not being aware, on putting one foot in front of the other and being completely present in that place with no other objective.

The outcome of this drawing is in some part about implying the absence of a major section intentionally left out, or physically removed from the finished piece. You should, in the end, have just two distinct but not physically touching entities. Whether you actually draw the piece and then remove it, or imagine it out of the equation never actually having drawn it, or other another scenario you come up with, is up to you.

The outcome of this drawing is in some part about implying the absence of a major section intentionally left out, or physically removed from the finished piece. You should, in the end, have just two distinct but not physically touching entities. Whether you actually draw the piece and then remove it, or imagine it out of the equation never actually having drawn it, or other another scenario you come up with, is up to you.


The idea is to draw an unfolded flattened version of a known recognizable or imaginary three dimensional object. The drawing should have a similarity (scheme)to how a cardboard box appears on paper when rendered as a six sided unfolded and hinged flat representation.