
Forest floor, Pokagon State Park, felt tip pen

Box Turtle, Seven Sisters Lakes, ink

View to Lake in Early Spring. Seven Sisters Lakes. Pencil

Old Weeping Willow at Lakes Edge. Pencil

Plant at Forest Edge. Charcoal.

National Theater. Sofia. Pen

National Theater. Sofia. Pen

From the hill overlooking Kleptusa Lake, Velingrad

Plovdiv, from the fortress.

The Russian Church “St. Nicholas” with the tomb of Archbishop Seraphim.

Remains of the Apollo colossos, Delos Greece

Fortress in Kos, Greece

Fortress, Patmos, Greece

Stadium at Ephessos, Ionian Coast, Turkey
Tammeron: Sketches
My involvement and interest in drawing is from the standpoint of the search. A searching drawing offers evidence of wrong turns, corrections as well as the steadiness of line. Misturns and corrections in a drawing indicate insight gained and give a drawing voice. The language of hand-drawing necessarily involves a trace of the mistakes as well as defined corrections. That story of thinking with line give drawings their interest.
Drawings discover the contour and gravity of a particular thing among other things. Drawings are particularly important in this era, where the things of the world have lost their weight. Drawing contrasts to the atmosphere of the computer interface which tempts us with ultimate flexibility in weightlessness in a digital hall of mirrors.
Hand drawing, as a practice, can help to reestablish the gravity things and a sense of place. When we draw en plein air, for example, we have to find a particular place to sit and draw with a perspective that we find of interest (that we care for). There. we adjust our legs, back, shoulders and arms and with a sketchbook in our lap, pick up a pencil or pen and drag a line on a page of paper. With very little mediation, but that of a stick of charcoal, we face the subject and bring edges into our consciousness with scratches on the paper.