More Wood Burning

 

For my third attempt at Pyrography (wood burning) I thought I'd try a more complete scene, with greater detail and tonal values than my first two experimental efforts. I chose this view of a cottage beside the Grand Union Canal because its a scene I've drawn and painted several times before, and because it offers a wide range of textures ... water, brick, foliage.

I knew I wouldn't be able to burn this freehand so used Carbon paper to trace out some rough outlines as a guide. Again I found the nib of the burner 'snagging' on the wooden surface. Most of the time this was quite annoying but it actually helped when it came to drawing the water. Most of the drawing was approached in much the same way as drawing with a pen, the main difference being the speed of movement .... slow moves producing thicker, deeper lines and fast moves producing thinner, shallower marks.

Wood burning is quite an enjoyable process so now I need to buy myself some better wood so I can tackle something proper.

Previous posts on Pyrography

Pyrography
First attempt

Pyrography
Second attempt

The same scene drawn
with Pen & Ink

Radiating Fog

First of all, just a brief update on why I haven't posted for over 6 months..... we've moved home. After 18-months of braving the roadwork-ridden motorway to travel 120 miles each way to see our granddaughter, we decided to move into the area. So the last 6 months have been crazy as we first threw everything we possessed into a few hundred (so it seemed) cardboard boxes, moving to our new home just 1 week before Xmas, and then unpacking and getting ourselves settled into a new way of life. We now live on the edge of the Pennines just north of Sheffield and it is hugely different from where we've come from.

Now to the drawing. From time to time I see an image or scene that I just know I have to try and draw regardless of how difficult or unappealing (hang-ability) it may be. I feel almost compelled to tackle it no matter how doubtful I may feel about the outcome. It happened to me again a while ago when I saw some online footage of Radiating Fog swirling around a church. Initially I dismissed the notion to try and draw the scene and didn't really have the time, but recently time has been easier to find and the urge to do the drawing was still as strong. It was good to finally have my pencils out again.

For anyone interested I have put a Work In Progress page on my main web site showing the various phases this drawing went through.

Smoke

Ever since I did the drawing of the steam locomotives a year ago I've been itching to do something else involving steam or smoke. I recently came across a photograph of an urban landscape that ticked my boxes ... and tickled my fancy. It's a dark scene and isn't the sort of 'art' that people would want to hang on their wall, but technically the challenge was just what I'd hoped it would be and I really enjoyed it. ;-)

Canal Cottages

Back in 2007, to mark my 60th birthday, my family treated me to a day on the canal. Fortunately it was "on" and not "in". The canal is the Grand Union and they hired a barge for the day and I was in my element navigating the calm waters. This stretch of the canal includes the famous mile-long tunnel near Blisworth which, in days gone by, were navigated by the bargee's laying on top of the barges and "walking" their feet along the roof of the tunnel. Fortunately for us our barge had an engine but the tunnel is only just wide enough for two barges to pass, so steering for a novice was exhilarating to say the least.

In my last post I mentioned how I was concerned over my use of hatching, in particular that it looks unnatural .... rigid, clinical diagonal lines ... and this is probably down to my inexperience. To explore this further I decided I ought to try a pen drawing with no hatching, achieving tones in a different, more natural way. I've painted this scene before and it struck me as being ideal for my purpose. I'm not displeased with the result and am happy that there's not one area of regular hatching. Now I'm keen to try another. ;-)

Paynes Grey

A long time ago, an extremely accomplished artist I know told me not to use Paynes Grey but to make my greys using other colours, especially if needing it for shadow work. As time went on I found I was seeing this advice more and more but I couldn't stop using Payne's Grey as I found it such a useful addition to my palette.

One day I discovered the work of James Fletcher-Watson and just had to buy one of his books. With interest I read about his usual palette and was thrilled to find that it always included Paynes Grey. From that point on I stopped worrying about having it in my palette on the basis that if it was good enough for James Fletcher-Watson then it was more than good enough for me.

A couple of months ago, while catching up with my old issues of "Paint" I was taken by an article in the March 2013 edition by artist Alan Goodall. The article is actually about the All Weather Wonderpad, but my interest was more with his subject and technique. His featured painting was a Pen & Wash but he only used one colour ... Paynes Grey. His washes were built up by adding multiple layers of varying strengths and I felt compelled to attempt this myself.

So here is my version of the scene at Watendlath in the Lake District. This was a really useful tonal exercise and I thoroughly enjoyed building up the values layer by layer. I don't know whether it's my love of pencil work that makes me biased towards graphite shades but I'm really pleased with the way this grey monochrome painting has turned out. And yes, Paynes Grey will always have a place in my palette. ;-)

Not enjoying painting ...

... but I'm not talking about THAT sort of painting. I'm talking about painting doors, window frames, skirting boards, etc. We're giving our living room a serious make over. I've always wanted a smooth flat ceiling yet every house we've ever owned has had the old-fashioned Artex stippled ceiling. On a few occasions I've stripped the Artex off myself and put up a textured ceiling paper. LOL ... that's fun if you've never tried it, papering a ceiling. However, this time I decided to have the job done properly so we had a tradesman in to re-plaster the ceiling for us, and it looks great. While I had the walls stripped of wallpaper I took the opportunity to run in some electric cables to give us some extra power points.

The best bit is that we've also decided to refurnish the room so it's out with the old 3-piece suite and in with something new. We are having two 2-seater Sofa's, one of which is an electric recliner and a 'special' chair for me. I have ordered a real Stressless recliner by the Norwegian manufacturer Ekornes. It's not a cheap option but once you've sat in one ..... hmmmmm.

Anyway, it's all coming together well and the end is in sight, which is a good thing because I haven't touched a brush (art type) or a pencil for weeks. The new furniture arrives next week and I've decided that the very last item to be put into the newly decorated room will be MY chair. So this post is by way of a warning that I'm likely not to post again for a while because once I'm in that chair I'm not moving for at least a month.

Because I have no art to share, I've decided to do something that I've been thinking of doing for a long time but never seem to get round to it .... share with you one of my other hobbies, photography. I have a Sony H9 Bridge camera with Zeiss lens and 15x optical zoom. It's a very versatile bit of kit but not in the same league as DSLR, which is something I'm thinking of getting very soon. I've never really been able to justify the cost of a good DSLR with the few opportunities I've had for photography, but now I'm retired things should be different ... if I can ever drag myself out of that chair.

A selection of my photo's are in a slideshow in my sidebar, and here are a few others. I hope you like them.

    

The Good, the Bad and the Ugly.

A few days ago I went out for a walk and followed a path that cut through a couple of nearby housing estates before eventually leading out into the countryside along the edge of a Wheat field. After about half an hour I found myself on top of a hill with a lovely view of the next village. I set up my stuff and proceeded to paint. I struggled mixing colours and felt as if I was slapping paint around in a haphazard fashion, so much so that after about 40 minutes I gave up. This wasn't what I'd expected after my last, more successful endeavour ... and the church tower looking more like the Leaning Tower of Pisa didn't help in the slightest.

Disappointed in my painting effort but determined to become more proficient painting en plein air I decided to try again. This time I started with a pen on the assumption that the black pen lines would hold the painting together. I found myself moving the pen around quickly and the result was much more sketchy than I'd intended, but I liked it better than the first and so I headed home.

Later in the day, still feeling disappointed that my first effort hadn't turned out as intended, I downloaded to my computer a reference photo I'd taken of the scene, and set up my easel. This time I felt much more in control. I was happier mixing the colours, and was taking greater care with my brush thinking more about lights and darks. I felt that this painting was working and my earlier disappointments soon started to fade.

This is the first time I've painted the same scene both indoors and out and it has proved a valuable lesson. I've learned that I must not expect 'studio' level results when painting in the field, yet I must somehow try and approach a painting outdoors in the same way as I do when I'm at my easel.

The journey continues. ;-)

Sandsend

Last year we were on holiday on the Yorkshire coast, near Whitby. One day we drove north along the coast road to Staithes, which is an artists paradise comprising twisting alleys amongst fisherman's cottages and a gorgeous small river estuary scattered with small fishing boats. It wasn't possible for me to sketch or paint so my camera turned hot taking scores of photo's. Eventually we found ourselves heading back to our holiday home but decided to pause at Sandsend, where the road turns inland briefly to cross a river before turning back to follow the coast. We enjoyed a short walk on the beach and sat to eat a sandwich mainly because that's the best thing to do with a sandwich. Standing with my back to the sea, I took a photo of where the road crossed the river expecting that I might paint it one day. Today is that day. ;-)

Sunset over Buttermere

While working on the Daffodil and appreciating the need to push my darks, I found myself recalling a photograph I took a few years ago and just knew I wouldn't rest until I'd attempted to draw it.

It was late one autumn afternoon and we were driving through the Lake District. It had been raining but had stopped you could sense the sun trying to break through the thick heavy storm clouds. The light was beginning to fade as we headed back in the direction of our cabin. As I rounded a corner I saw the most spectacular of views. Most of the landscape was in near silhouette and the setting sun, though still hidden behind a cloud, was breaking through with powerful beams of light shining down on Buttermere Lake. I stopped the car to take a photograph and the atmosphere was magical. The water was still, there was no breeze, there was no sound. A moment later the spectacle had passed.

Back from holiday

Scarborough - South Bay

First of all, I must apologise to all you bloggers I follow regularly for not keeping up with your posts. I have been away on holiday and although I had some limited internet capability with me, there was not enough online time to get round the blogs. Anyway, I'm back now and I'll be catching up just as quickly as I can.

It had been my intention to do lots of drawing and painting especially to push myself to do some more plein aire work. Regrettably, it was so damp and windy that sitting outside for any length of time was not enjoyable. However, needs must, and although I didn't do any plein aire painting, I did manage a few quick sketches. The one of Scarborough was sketched looking through the rain splattered windscreen of my car as we sat on the harbour wall beside the Fishery.

I spent the week near Robin Hoods Bay on the edge of the North Yorkshire Moors. As a 'towney' wanting to appreciate the countryside, I decided to stay on a working farm for the week would be a relaxing experience. That said, there were no animals and I don't know what the buildings and machinery were all about but it looked more like a factory than a farm.

One of the things I'd looked forward to was a trip on the old steam railway. When the day came, it was a disaster. Having parked the car I went to buy the tickets and was very disappointed to be told that the steam engine had broken down so the train was being pulled by a Diesel. That's just NOT the same. Still, I couldn't do the trip on another day so decided to do the trip regardless. After a short wait we were finally in the carriage and pulling out of the station.

I was looking forward to seeing the best of the moors from the train and had my camera ready but the worsening rain and reducing visibility were making photo's less likely. Suddenly the train screeched to a halt and the guard ran through the carriage looking most concerned. Long story short, the engine had broken down in the middle of nowhere and we had to wait over an hour for another engine to come and tow us on to the next station. That was actually good news as I was already having visions of us all walking along the railway track to the nearest station. Thankfully I had my sketchpad with me and used the time to attempt a drawing of my camera. Eventually we were pulled to a station where we were told no more trains would be running and a bus would take us back to where we started. Cold, damp and disappointed we arrived back at our starting point several hours later.

Robin Hoods Bay

The highlight of the week was a visit to Robin Hoods Bay itself. The village is built into the cliff face and is a maze of narrow winding alleyway's between the quaint old smugglers cottages. It was fascinating to see how one persons roof was on the same level as another persons garden. An artists paradise as every step I took revealed an ancient doorway, steps worn by centuries of use, crooked windows and cottages built to abnormal shapes in order to fit them in, like 3-dimensional jigsaw pieces. Had I been on my own I would have loved to have sat and sketched all day long but as it was I contented myself with taking scores of photo's. I didn't manage to get as much drawing done as I'd hoped during the week but I have enough reference material to last me a very long time. Can't wait to get started. ;-)

Lindisfarne

The Holy Island of Lindisfarne is one place I've always wanted to visit. It is too far North for me to do it in a day trip so I need to take advantage of being in that area. Despite a holiday many years ago in the North Yorkshire Moors and another some time later in the Durham region, both within and hour or two of the Island, I haven't managed to get there. The nearest I managed was in 2007 as we were travelling back from a weeks holiday in Scotland. We passed within 20-30 minutes of Lindisfarne, but there wasn't enough time to make a worthwhile detour. So the island remains one of those places I just long to visit.

The Holy Island of Lindisfarne

Lindisfarne Castle sits on top of a volcanic mound known as Beblowe Craig. The castle was built in the 1550's following the dissolution of the monastries by Henry VIII, in defence of the realm against attack by Scotland and in pursuit of their Spanish allies. The island is reached via a tidal causeway that is completely submerged when the tide comes in. I think the boyish sense of adventure of being in the castle when the tide comes in, totally cut off from the mainland, is one of the attractions for me.

Ingrid provided a photograph of the castle for my Art Forum's latest Painting Project, and this is my effort. It's been a while since I last had time for a painting and I thoroughly enjoyed this one.

Another sketch.

As is so often the case, yet again I have found myself without time for any serious drawing or painting. I am not one of those loose painters who can quickly splash some paint onto the paper and create a masterpiece. I so envy artists who can do that. To produce anything even half decent I have to mark out some pencil guidelines first, and then the painting itself takes me ages. And when I am drawing, everything takes so long, especially if it's a tricky subject and I decide to do a grid. I know from the feedback I get in my art forum that I am not alone.

Lindisfarne - Water Soluble Pen - A5

Rather than not do any drawing when time is short, I am pushing myself to sketch. A sketch can be very quick and doesn't require the fiddly precision of a proper drawing. In addition, there is nothing better for building confidence than going straight onto the paper with a pen. When sketching with pencil I can't help but reach for the eraser when I make the smallest slip, yet when working with pen, that is not an option.

A sketch doesn't have to be 'good' to be a worthwhile exercise. Take this sketch of Lindisfarne (Holy Island). Although not a great picture it was superb practice at interpreting perspectives, judging proportions and recording the shapes of the buildings. The pen required a confident approach and by using water soluble ink and a wet brush, it also forced me to study the tones in the scene. The picture took just a little over 15 minutes to do and, best of all, it was FUN!!!

Lost my virginity ...

... or in other words, I've finally had my first plein air experience.

I promised myself that the next opportunity I had, I would try and be courageous and attempt something plein air. I have been inspired entirely by my blogger friends. I have long been a fan of Keith Tilley and thoroughly enjoy his exploits into the wild and rugged Scottish hinterland where he lives. The first urges to try it myself came from Sandra Busby's account of her day with Sue Pownall and I can imagine how wonderful that must have been. More recently, Michael Bailey's quick sketches have inspired me to finally make the effort. There are others whose blogs have contributed to the many small 'kicks' that have ultimately led to me losing my virginity.

Sketch 1 - Beach Gardens

My wife and I have just spent a couple of days on the east coast and the opportunity to embarrass myself in front of scores of strangers finally presented itself. Before I say any more I must say that ALL of the sketches I produced are poor. They were very hastily and nervously scratched out but for me the pleasure, satisfaction and sense of achievement comes NOT from the quality of the sketches, but from the challenge of drawing in public and the barriers I succeeded in breaking down. I am not a confident person and I have a low opinion of my art, so to attempt something in public was a double challenge.

Sketch 2 - Southwold Pier

While doing the first sketch of the Beach Garden at our holiday resort, two ladies who had been sitting nearby, passed behind me and one of them said "Wow, did you just draw that?". We exchanged a few brief pleasantries and they went on their way. Though they couldn't see much since I was using a small A5 pad, it was nice of them to comment and made my first experience a pleasant one.

The second sketch was done sitting on a cliff top bench high above Southwold pier. The bench was on the public pathway and scores of people were passing by. None of them spoke and I kept my head down, but I was aware of the passing eyes.

Sketch 3 - Beach Gardens

The third effort was a more serious attempt at producing a worthwhile picture, though it had to be done standing up, which I found particularly difficult. Again I used pen but this time on an A4 pad. I had my watercolour pencils with me so I was able to add some colour which I then touched up with my Aquabrushes.

My final effort was a very quick doodle of the view in front of me as we stopped beside a lake for a quick snack.

Sketch 4 - Lakeside picnic

As I've previously stated, I'm under no illusion as to how poor these are from an art perspective, but this exercise was never about the art. Whether or not I ever reach the stage of attempting a proper watercolour painting plein air remains to be seen, but I will certainly be making a bigger effort to carry a pen and sketch pad with me when I go out and about. To all my blogger friends who have inspired me, thank you. ;-)

Glencoe

It seems like an age since I last did some drawing or painting, but a few days ago I had the opportunity to tackle a quick picture. Knowing how I get more and more embroiled in detail once I start messing with my pencils, I decided a quick excursion with my brushes would be more in order. I decided to have a go at this view of Glencoe in Scotland.

Discussing the location with my Scottish friend uncovered an interesting issue with the name. I had looked up some things online and found that the village of Glencoe was referred to as Glencoe, but the area of Glencoe was actually referred to as Glen Coe. Well, when I called it Glen Coe I almost got smacked. Thank goodness you can't send 'physical contact' by email. Anyway, I did some more checking and found sites like Wikipedia and organisations like Ordnance Survey using Glen Coe, but others like the Scottish Tourist Board using Glencoe. But as far as I'm concerned, if my friend says it's Glencoe, then it's Glencoe.

The painting is a very long way from being one of my best, or even good, but you know what .... it doesn't matter. I splashed on the paint, and even managed to get some on the paper, and had a thoroughly enjoyable hour or two. Whilst it's always nice to get a good result, the true enjoyment comes from the doing.