Rose

A week ago I sat down to draw a Rose. I wanted to try and get some nice smooth blends so looked for the smoothest paper I have. What a mistake that was! I chose Extra Smooth Surface Bristol Board (250 gsm) thinking it would 'be the business'. I wanted to build up my tones gradually so started light with a hard (5H) pencil. All was well until I started to blend, and then I found the tortillons were leaving unpleasant streaks on the paper rather than giving a smooth graduation of tone. I switched to paper-based stumps but they were just as bad. I persevered, building up tones with more graphite, switching to a softer (H) pencil, and blending, blending, blending. The end result was very disappointing ... and I was disappointed in my own efforts because I've never been a workman who blames his tools.

To try and salvage the drawing, I went over it all again with softer (2B; 4B) pencils and eventually, after a very many hours and much toil, achieved a result that was 'passable'. But it was bothering me that I'd had so much trouble so I just had to try again. I was unsure if the problem was the paper, the pencils, the blenders or me, I didn't want to change everything or I'd never answer the question. I've always felt happy with the pencils, the blenders have always worked before, and I didn't want to change 'me' or I'd have missed the experience, so I looked for a different paper. This time I chose Daler Rowney Heavyweight (220gsm).

Apart from the change of paper, I approached the whole thing as I did first time around ... but what a difference. The tones built up gradually, as planned, and the blending was smooth and delicate. I felt in control again and things were happening the way I wanted them to.

I can only conclude that the Extra Smooth Bristol Board just doesn't have enough tooth for this sort of work ... and if I'm wrong please don't tell me 'cause I'm finally feeling happy again. ;-)

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. ;-)

More Bridges

The good weather coupled with getting caught up with a few things, has allowed me to get out for another walk and some more plein air sketching. This time I went to some local lakes popular with the local angling community. The walk took me through woodland, along open paths alongside the lakes, past fields of hay so tall it must surely be ready for cropping, and past many families of ducks clearly not impressed at my ambling through their territory.

The walk also took me over some small wooden footbridges. One was made of sawn timbers but was surprisingly ornate in it's construction and looked almost out of place out in the middle of an overgrown woodland track. It had seen better days and many of the floor boards were showing signs of rot and I wonder how long it will be before someone puts their foot through it. I was intrigued by is diagonal design, stepping onto it from the side, and off from the opposite side.

Others bridges were less fussy and were nothing more than a few planks nailed together without any form of hand rail. They looked barely capable of holding a persons weight. It is most concerning because if someone were to fall from the bridge they would find themselves immersed in the fast flowing stream right up to their ankles. But I shouldn't joke. This one in particular crossed a stream that could easily have been stepped over, but the ramp up to it tells me it is there to make the area wheelchair-friendly and hats off to the land owners for making the lakes accessible to all.

I decided to set up under the shade of some trees looking up the hill towards Castle Ashby Manor and it's church. The manor is a typical 16th century manor house and was seat to the Marquess of Northampton.

From a technical point of view, I really struggle sketching while standing. Both bridges were done this way. I could have set up my stool but I wanted to try again while standing as it's definitely something I'm going to have to work at. I found the painting easier than last time. Not that I did any better but I felt a little more at ease and a little more in control of what I was doing. I do find it hard to concentrate on colour mixing and tonal values while out 'in the field', but I had a general feeling of 'doing better'. While sketching the ornate bridge a couple appeared out of the woods and made their way across the bridge. I stood my ground and carried on sketching ... and that is progress indeed.

Can't wait for my next walk.  :-)

Robin Hoods Bay

Last year, when on holiday in Yorkshire, we were based just a couple of miles from Robin Hoods Bay, which is a quaint little fishing village built into the side of the cliffs. The first record of the village was in the 16th century and there is no evidence whatsoever to link the village with Robin Hood of Sherwood Forest. In the 18th century it was reportedly the busiest smuggling village on the coast of Yorkshire due to it's natural isolation. Wandering through the narrow alleys between the cottages conjured up a great sense of smugglers and hidden contraband. By the middle of the 19th century a thriving fishing industry existed.

King Street, Robin Hood's Bay - Graphite

We had to leave the car at the top of the cliffs and walk down the steep hill into the village.  I wandered through the narrow alleyways between the buildings, firing my camera almost continuously ... every turn revealed a new photo opportunity. One such alleyway brought me out at the top of King Street, just up from "Ye Dolphin" Inn. I couldn't figure out why the Inn sign had a painting of a galleon on it, rather than a Dolphin and I guess that will remain one of life's mysteries.

I chose Winsor & Newton Medium Surface Cartridge paper (130 gsm) because it has a strong grain when used with graphite and I thought that would help with the textures of the old buildings. It made it harder to get clean, sharp lines, but the tooth in the paper made the darks easier to achieve. I'm quite pleased with the effect as I think it really adds to the Olde Worlde scene.

Obviously I used artistic licence to omit various 21st century eye-sores such as Wheelie Bins, Television Aerials, roof lights and telephone cables. But one way in which 21st century did help was with one of the buildings which was badly obscured on my reference photo by a large "For Sale" sign. I was delighted to be able to use Google Street View to see what was there. lol.

Bridges and Lock Gates

As my regular followers will know, a while ago I decided I wanted to get out into the countryside and paint en plein air. I did this to some extent with my friend Ingrid when she came to visit a few weeks ago but the weather wasn't very kind to us. Anyway, I've bought myself a backpack specifically for the purpose and the other day I loaded it with sketch pads, paint pads, pens, pencils paints, small folding stool, bottle of water, etc, and headed out into the countryside. Eventually I want to do some long walks but for now I'll keep it local.

The first thing I headed for was a series of bridges near here called The Causeway. They look olde worlde as you drive over them and I felt sure they would make a great subject from down near the river but from that position they actually looked quite ugly being mainly industrial bricks and concrete slabs with a 'decorative' stone wall on top. It was disappointing but I spent about 20 minutes doing this pencil sketch, just for the practice.

From there I headed off along the river bank and after crossing a footbridge and following a narrow trail for a while, I finally came upon these lock gates. This looked like the perfect place to paint so I wasted no time getting set up. I have to say, painting outdoors with the pad on your knee and the paints on the floor, was far from perfect. The sun was really hot and the paint was drying as soon as it hit the paper. I found it hard to be too precise and I've really got to learn to be less detailed when painting outdoors. But it was a great experience and I enjoyed every minute.

Before heading home I pushed through a narrow overgrown path to see what was there for another day and came across another branch of the river next to a Hay field. In the distance I could see what I knew to be the buildings of a local boatyard. I shall come back to this spot another time to paint the scene but for now I spent 10 minutes doing a pen sketch.

Though none of this is what you'd call 'great art', it was great fun. I feel that my art will benefit enormously from making myself do this regularly because painting/sketching en plein air is certainly different from painting/drawing at my desk from a photo. I can't wait for my next opportunity.

Fuchsia "Winston Churchill"

This painting just had to happen one day. I have several hobbies one of which is growing Fuchsia's, and I have about 300 plants covering about 60 varieties. I have a number of favourites but one that has been right at the top of the list for a long time is called "Winston Churchill". Why it was named after him I'll never know because it doesn't typify my understanding of the man. This flower has a very frilly double bloom and is far from hardy, neither quality being very Churchillian. 

Not only do I love this plant but Churchill is my all time favourite hero. As some of you may know, another of my hobbies is photography, so you can imagine just how many fuchsia photo's I have. So it just seemed natural that sooner or later my favourite fuchsia, named after my hero, and photographed by me a zillion times, should make it's way onto my art easel. 


This painting provided a number of challenges and new experiences. It is the first 'serious' painting I've done with both my new Sceptre Gold brushes and using Arches paper. While the painting experience was great with both brushes and paper performing beyond my expectations, the drawing experience was far from good. Drawing a relatively small portrait on a very rough paper like Arches was far from easy and I can't believe I didn't think about this before I started. The paper was very scratchy under the pencil and any form of serious blending was next to impossible. Still, a reasonable likeness was achieved, and I'm pleased about that.

If any of you are interested in seeing some of my flower photo's there is a small slideshow in the sidebar, but I also have a web page on my site showing flowers in my garden from every month of the year. A year in my garden. And for anyone interested in growing Fuchsia's I will soon be adding a page about training Standards to the ones about Taking Cuttings, keeping them bushy and over-wintering.

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. ;-)

Unknown Knight

Well, I'm sure someone knows who he is, but I don't.

When my wife and I stayed at Bodelwyddan Castle in North Wales some weeks ago, I spent many hours wandering around the castle grounds and formal gardens taking hundreds of photo's as reference material for future drawings and paintings. One of the features I discovered was this statue of a Knight set into an alcove in the East wall of the castle. Despite asking a few people at the time, and checking online since, I've failed to learn the identity of this guy.

I run various painting and drawing projects in my art forum, the primary aim of which is to encourage, help and challenge beginners. I chose this chappy for the most recent drawing project as I thought it might be a good way to tempt people who don't normally draw people, to draw a person without really drawing a person, if you know what I mean. LOL. Anyway, this was my effort and I have to say that I thoroughly enjoyed it.

Sharing our art

Last week, my good friend Ingrid (Ingrid Ormestad Art) travelled down from Scotland to spend a week with my wife and I. Ingrid and I promised ourselves lots of art, and that's just what we did. In particular we agreed to get out and about with our brushes and do some plein air painting, something neither of us have done before.

We visited Castle Ashby Gardens, which is where I found the Secret Garden I painted a while ago. The sun was shining wonderfully and we sat in the shade of the Arches in the Italian Garden to sketch. It is a very formal Italian style garden with perfectly manicured hedges and bushes. Ingrid chose pencil to sketch a large Urn, and I chose my soluble ink pen to sketch the Orangery at the far end of the garden. I washed in some shadows using my Aquabrush.

After exploring more area's of the garden, including the Secret Garden which looked just as beautiful as it did the first time I saw it, we found a bench to sit on and attempted some painting. We chose this Urn which was set back in dark shadows. Although I'm happy with the Urn, I wish I hadn't tried to paint the dark background.


On the Wednesday we went to London for the day, mainly to visit the Society of Women Artists annual exhibition in The Mall Galleries. It was a great day that started with the Changing of the Guard at Buckingham Palace and ended at Westminster, at the foot of Big Ben. The art exhibition was all we'd expected and it was fascinating looking at so many superb works.

Many of our plein air excursions resulted in us doodling on paper as we discussed painting and drawing techniques and shared idea's. We needn't have gone out to do those things but we just did what we wanted to do at the time, and it was as much fun sharing our methods as it would have been trying to create a new masterpiece. On one occasion, having just set up all our stuff, the heavens opened and the rain fell. We sat in the car until it stopped and then set up again. Not long into our painting, it rained again. My 'masterpiece' got washed from the paper and Ingrid said it looked like a Monet. lol. I may try and finish it because I did take a reference photo before we started.

Not all of our outdoor painting involved travelling. We had several sessions painting and sketching in my garden. One item of garden furniture that received more than it's fair share of our attention was my rusting cast iron Chiminea. Not only did we both paint it and sketch it on more than one occasion, but one evening the three of us sat out until late burning logs and talking.


This was my first art experience in the company of another artist and I have to say I had the best time ever. Exchanging idea's, discussing techniques, looking over each others shoulder and allowing our own shoulder to be looked over, was a very rewarding, informative and satisfying experience. Thank you Ingrid for the best week ever. ;-)

Jack of all trades …

My last several pieces have been in pencil and so I was keen to get back to watercolours. Apart from anything else, I have just treated myself to a new desk easel and 5 new Windsor & Newton Sceptre Gold brushes. But I am somewhat disappointed … not in the new brushes but my own ability.

Recently I found myself waiting for my wife as she attended a funeral and I couldn’t help but kill time (excuse the pun) by sketching the quaint little chapel. The sketch had to be done standing under the shelter of a tree as the wind brought in the beginnings of a shower. (That’s my excuse and I’m sticking to it).

Later, at home, I decided to paint the chapel in watercolours. Fortunately I had taken a couple of reference photo’s which I was very pleased about as my sketch really wasn’t good enough to work from. But the resulting painting was not good. Much too wishy-washy, flat and under-defined. I managed to ‘rescue’ it, to some extent, by using a pen which at least brought in some definition and lifted the flatness … a little.

Another day I decided to paint a Lily from a recent photograph I’d taken. I wanted to make an indistinct background so thought I’d do some wet-in-wet. That soon turned into a mess. I lifted the background off and then reapplied it once the paper was dry, but only managed to achieve the same muddy mess as previously. I considered returning my brushes as “not fit for purpose” but thought better of it. lol. These recent, but not uncommon, struggles with the medium are very frustrating and it has me wondering whether I would be better off concentrating on one medium. Many of my blogging friends seem to work regularly in the same style and medium whereas I am frequently switching back and forth … and that can’t help. You know what they say … “Jack of all trades, master of none”. Ok … so I’m making excuses … I’m off to create a masterpiece … in my dreams. LOL.