Showing posts with label pastel on altered book pages. Show all posts
Showing posts with label pastel on altered book pages. Show all posts

Thursday, September 13, 2018

Different sketchbooks for different motifs

For some reason I like to keep my sketchbooks of a theme.  Earlier this year I piloted a sketchbook where I put everything in time order.  It was interesting and I could find everything but somehow if everything that is thought of in a particular way stays together, even if they each inhabit a page and don't 'talk to each other', I just like it that way better.

Yesterday I put little pieces of yarn (colour coordinated) through my spiral sketchbooks to indicate if they were Maine, still life, life drawing/portrait or landscape. I was tired of pulling all the sketchbooks off the shelf to find the one I wanted to look through or work in. I should have been getting ready for the school workshop I am doing next week but hey ho.

When I went to maine this summer I made three altered sketchbooks.  The drawings here are from the one titled, 'The Friendly Road'.  I put the drawings about people and places in Maine in that one and carried it around with me wherever I went. The other two are: "Gardens" and "Lady with the Lamp". Gardens is self-explanatory and focued mostly on my mother's garden.  I put one still life in it and one in the Friendly Road.  Lady with the Lamp is about night light. Unfortunately I didn't have time to do much night drawing this summer.

It makes we wonder how other people use their sketchbooks. I asked the NEAC members I met.  For me my drawings are personal and immediate and fix time right then and there.  I am not so keen on thinking about the past, maybe that's why I like to organise them in some other way.








Friday, August 18, 2017

Drawing London with Paul Newland

Just back from a two day workshop with Paul Newland, thanks to the New English Art Club. Paul's  course description intrigued me.  However, it was with some trepidation that I went to London, the day after getting back from Maine, to draw plein air somewhere near the Mall Galleries. 


                                      

This is a 2-day workshop about investigation and exploration, it will take place near or within St James's, with the Mall Galleries Learning Centre as a base. The aim is to record your evolving perceptions of place. The space, changing light, architecture, traffic and human activity may all be seen in numerous ways and in the course of these these two days we want you to explore your own vision of these phenomena. This may be done with numerous studies, or with one large work. You may enrol for one day only if you wish. There will be a plenery session at lunchtime and at the end of each working day.

After speaking to Paul, my goal was to make a series of what I will call 'gestures' to establish a sense of place that I will work from to make a small painting back in my studio.


I stood across from a few dynamic streets so there was a stream of traffic between me and the subject.  I learned quickly about how big the closest buses are and how much they obscure what I am trying to see.  

Paul wanted us to consider 'space' first and although he asked us to use line to begin with, I used pastel. Without even deciding to, I edited much of what I saw.  The goal was to get many done quickly. 

Next I moved onto light and what I noticed was that the sky was the lightest area - a little swathe of blue might appear, but the sky was mainly white with grey punctuation.  The cream coloured stone of the buildings and the column appeared darker than I might expect.  I limited my palette in both cases as the light seemed to require that. I never felt finished and I have included everything I did over the course of the two days here, even the things that don't work!

All of the drawings are contained in an altered sketchbook I'd prepared the day before: A Silent Traveler in London by Chiang Yee. Most measure 12 x 18 cm - with one taking two pages, so 24 x 18cm.
Paul wanted us to capture elements of human activity and traffic as well as the architecture and folliage that characterised the space. He encouraged us to experiment, to gather a range of drawings.  As a countryside dweller and never having drawn plein air in a bustling place, suggesting, let alone pinning down a bus, a car, a person on their way somewhere else was thrilling, exhausting and difficult. I tried tone, I tried line and I tried colour. Much of time I was in full struggle mode trying to juggle all the competing demands.  I wished I knew more about perspective and spent lots of time holding my pastels up to check the acute angles of the roads, realising the scale was all wrong or the distance between things didn't make sense.

All the individuals in the group were drawing in different places and Paul had to find them.  He found me quite easily, I think, and he and I had a series of short talks about different directions I might explore and he helped me to see where something didn't work.

I have to tell you that to make the sight of me even more comical than simply a scruffy middle aged woman with a trolley and a table easel drawing in a book (with lots of people, traffic and delivery carts going by), I was wearing two sets of glasses, one on top of the other in order to see the scene. I believe this version of me is not an intimidating version, as I had many curious onlookers and quite a few conversations.  One young man took a panoramic video of me, my subject and all the chaos.  Another handed me his phone and asked me to type my name in it.

The person I spoke with longest was a man named Skye from Bejing. He designs museums and was in the UK for a month.  He had been to Glasgow, Edinburgh, and London at least. He showed me some gorgeous photos of museum art, his parents and their acupunture images. We spoke twice, once before he played a game of table tennis with a man who found him on the street and then again after.  I nearly missed my train… 

Skye noticed that my book had Chinese writing in it, which you can see in the drawing below on the top page.  This thrilled him! We'll see what I can make of all of this… I'm not feeling very confident but Paul in standing by to give me input.







I took a slightly later train back.  After dinner I noticed the sun setting over the hedge - of course the light faded fast but it felt good to position my easel right outside the front door and to observe my non-urban view,the sun going down behind the hedge for a short time, pastels in hand, no head torch this time.






Saturday, August 12, 2017

A Blaze of Bouquets

Pattern of Three

My mother is generous with her flowers and gives me free reign to pull out objects to draw. Left alone in the house, I wander around imagining what new arrangements could say. This year the colours in Jan's garden are imprinted on my palette and in the last days of being here I wanted to translate them in some way, distanced from their fiery border. My first bouquets were brought over by my friend and our neighbour, Sam King.

Sam's Flowers
I must admit to thinking more consciously about compostion, or at least 'naming' the composition more after the NEAC courses I have taken. Yesterday I approached my drawings in a slightly different way. Mostly it was me trying not to take out all my pastels in order to begin, a time saving way to start. When I liked the results the first time, each time I drew (yesterday) I used the approach.

I began by using my derwent pastel pencils to put down a few of the exact shapes of colour in proportion in the space as I saw them. I did not make a series of marks around the page, honing in as I made sense of the space. I also stuck to my box of sennelier pastels which are unbelievably brilliant but big and clunky, shunning my little paper boxes (aranged by colour) which are a mix of pastels from my life. 
Bob's Complementary Flowers
I guess you might say years of looking at the garden has made me a colourist. Thanks mom. What a summer of inspiration! I must also admit to be being a little excited to get back to my studio to see how there drawings evolve into the next thing, though!

Friday, August 11, 2017

Last Pieces of the Landscape of Holiday

Fish Flower Launch
There are rituals in a place where you've been spending months of the summer for fifty years.  There are objects you see that make time tumble back.  There are new things that quickly become home. 

We sit on the porches at different times of day, watching island life, reading our books, eating our lunch, toasting each other, kibitzing. So when I got to the final pages of Holiday Home, I went to the porch.  But my porch was an amalgamation, a summary, a romanticized view. It could never be the way I composed it, and I did compose it so I saw it that way, stacking footstools on stools to raise the horizon to incorporate the sea, hanging rugs on fences, placing flowers high.

Flowers Kantha China
From Porch to Pier

Towards the end of the book I began to turn to the more complex aspects of my view… Most years Patrick builds something that becomes a feature of the garden.  His structures grow out of the landscape.  

Driftwood Garden and Chair

And as I closed one book I was able to work into another.  Yesterday as we walked around the beach the red flag and the rocks made me pause long enough to get something down. Inspired by words on the page, I drew the porch at night and a few days ago on another windy walk, with wind that wanted to lift my chair into the air, the white caps, clouds scuttling by and white rocks beyond Preble stopped me in my tracks.

Low Tide and Red Flag

Night Paddock


Wind and Whitecaps



Wednesday, August 9, 2017

Exploring light and colour in the Holiday House

Cocktail Hour
I learned from an artist friend when I was young and impressionable that looking for inspiration in the everyday was a way of being with the world.  The intrigue of shapes and colours side by side would keep my occupied, (confused) and curious enough to last me a lifetime. This project, contained within the space that is familiar, known and drawn often is proving that even when I think I know something or there is nothing left to draw, there is always more. And taking on the night light has enlarged things in a different, enchanting direction. Four pages left…
Artificial Light on Table
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Flowers After Rain

Echinacea and Day Lilies

Lights on with Full Moon

Reading in barn (Toothache)

Night light on Barn and Shed 
While Listening to Rachel
Not Quite Lights Out


Sunday, August 6, 2017

The limitless possibilities of the Holiday House

After Dinner Bouquets
With my goal of three pages a day, I am ready to begin p 213 today.  I have made 22 drawings so far; that gives you an idea of how many pages I remove and glue together to make my altered sketchbooks.

My daily schedule has been packed so it has been usual to have one or two drawings to make after dinner. As I am in love with night light, this has been a welcome constraint.  Katy has leant me her head torch and the quality of light changes with this.  I have experimented in low lit places.  Light is thrown on objects differently as above (After Dinner Bouquets) and below, (Molly's Birthday Bouquets).

Before Dinner Structures
Sometimes, sandwiching a drawing between events means the light fades before I have finished…
Buddha and Birdbath
I carry objects to new places to create new worlds that are familiar but which don't actually exist.

Green Garden with Pink


Light Through Tree 8pm

Molly's Birthday Bouquets


Nightlight Over Trees

Petunias on Porch

Sunflower and Shade

Fog and Foam
I have three altered sketchbooks with me in Maine.  Holiday House is what I am focussing on but if I go beyond the curtilage of the barn and the house I get out my Maine Landscape book.  At Preble Beach the fog rolled across the view.  I am itching to complete the last four pages of 'Bouquets' while here in bouquet heaven.

The images in Holiday House are 15 x 10.5 cm while Fog and Foam is 15 x 14.5 and sits on a bigger page.

Tuesday, August 1, 2017

Holiday House

Pillows and Box Garden

While still in my studio in England, I created a new altered sketchbook. It's a beautiful thick book entitled 'Holiday House'. I tried putting beeswax on the cover and shined it up and I think it looks splendid! I am in the process of filling this new altered sketchbook from cover to cover.  My goal is to complete it while here.  There are about 30 remaining pages to draw on. 

My mornings begin by preparing the pages, I have already gessoed the pages once; I tape the edges and choose a background acrylic ink to blend with the pastel ground. I use a hairdryer to dry it quickly and find my space.

The barn is dark (even in daylight) so I needed to drag a light over to see the colours I was using as I looked out the window. In the garden I have used an umbrella to avoid glare on the pages and at night I used a head torch. The light faded fast and it was hard to find the edges … the mosquitoes were out too!

I would love to use this book as a way to find a residency somewhere. Can you think of a beautiful place where I could spend a week or two finding and recording what makes it special and memorable?

Morning Octagon

Nightlight from Apple Tree

Cypress Box and Hostas

Ferns and Fence

Jan Looking Garden