Michael Graves (1934–2015), Beach House, Loveday, New Jersey, 1979. Pen, ink and gouache on white trace, 682 × 682 mm.
I personally like to draw on translucent … tracing paper, which allows me to layer one drawing on top of another, building on what I’ve drawn before, and again, creating a personal, emotional connection with the work.
With both of these types of drawings [the referential sketch and the preparatory study], there is a certain joy in their creation, which comes from the interaction between the mind and the hand. Our physical and mental interactions with drawings are formative acts. In a handmade drawing, whether on an electronic tablet or on paper, there are intonations, traces of intentions and speculation.
This is not unlike the way a musician might intone a note or how a riff in jazz would be understood subliminally and put a smile on your face.
– Michael Graves, ‘Architecture and the Lost Art of Drawing’, New York Times, 2012
On the preference for drawing on tracing paper, in the case of Peter Salter to be able to scrape away and erase, and in the case of Marie Jose van Hee, to be able to layer like Graves; on Graves on the increase of the drawing market surrounding his drawing, Jordan Kaufmann; an for another short piece on Michael Graves by Helen Thomas.