Pencil – no rubber or eraser -, pens old and new, quills, Indian ink, and paper are always within reach to Fekete just to bring down a quick note, a creative idea, an observation in the house or outdoors in the street or landscape. Whoever does not know Fekete’s airy drawings and is only acquainted to his complex paintings and colour wood cuts, will at first be surprised by his clear, subtle, and mostly sparing lines of his hand in drawings.
Fekete used to urge any fellow-artist seeking his advice to use the disciplining true drawing pencil. This because drawing being regarded as an independent part of arts already since Renaissance, was the best teacher in arts as he found it, even for himself.
Drawing is developing a life of its own and is giving him great spontaneity. His hand is drawing freely, nearly tentatively, over the paper, no idea of forming or conception is narrowing him down. And with a bit of luck in a very short time he will have created a complete idea on his paper showing clearly to the viewer what he had seen only in his imagination before. His set of lines not always is the same; sometimes the subject seen on the paper is in bold strokes in the foreground with the pen being split creating a double spur, and farther in the background the motifs may became softer until the strokes will end very delicately like spider’s webs.
In his unspectacular drawings we will find the character of Fekete, his oversensitiveness, and his being solidarity with animals and nature in the most straight-forward manner. Far more than with the opulence of his unreal world of colours in his drawings his concern is the direct recognition of facts of his personal surrounding; his wife and he himself, and from time to time a friend, that are subjects often used.
Beside it the drawing pencil may hide symbols by sparingly designed scenes. The viewer will recognize them whenever he tries to copy the lines in the air – an advisable and heartening occupation.