Flamborough Lifeboat 1971

In my last post I mentioned that I was excited about a new drawing I was working on, well this is it.
A few weeks ago, I stumbled across a black and white photograph of the Flamborough Lifeboat leaving Bridlington Harbour in 1971. I had recently picked up my pencils and was working on a drawing of a pair of dogs and was enjoying being back at my drawing board. Something about this picture sparked an enthusiasm in me that I don't think I've experienced before and I just knew I had to draw it. I sent an email to the photographer, Paul Berriff and sought his permissions for me to use his photograph, which he gladly gave.

I used artistic licence to remove a harbour wall that occupied the left quarter of the original photo as I wanted to emphasise the isolation and peril that these brave men find themselves in whenever they go out in stormy weather. Somehow the harbour wall gave the impression they were still in a safe haven. As a result of this decision the waves on the left are somewhat invented, but I think they add to the overall mood of the scene and increase the drama.

I can't remember a time when I've been so excited about doing a drawing and to say I was buzzing is an understatement. I think I may do another of these in the not too distant future .... I just have so many other things I'm anxious to try.

For anyone interested I have put a Work In Progress page on my main website showing the various stages.

New year, new beginnings

Happy New Year to all my blogging friends. ;-)

For me, 2014 wasn't a great year. It started with me packing up my parents belongings and selling their home of nearly 50 years, helping them to move away from the town they've lived in for almost all of their 68 years of marriage. They now live 130 miles away with my sister, and whilst that has been the best result for them, it has been difficult for all concerned .... and I miss having them nearby. They have both had periods of illness that involved many journeys up and down the motorway visiting them and providing support to my sister. Sadly Dad passed away in October. He was 96 and suffering with Alzheimers, so in many ways it was a blessing I think. Mum has had more than her fair share of problems but, at this time, she is doing very well.

My art will never be more important to me than family and so it has been on the back burner. There have been periods during the year where I've found myself with the time to pick up my brushes or pencils, but I just haven't been able to get excited about painting or drawing anything. Sure, I've tried, and there have been times when I've made a determined effort to get back into my art, back into blogging, and back into following what the rest of you are doing. But those times have been very short-lived.

Just before Christmas my aunt, during a brief pre-Christmas visit, saw the pencil portrait of my two dogs hanging on the wall of my lounge and asked if I'd drawn it. When I said I had she wasted no time in asking me if I'd do a similar drawing of her daughter-in-law's two dogs. Though she wanted to give the drawing as a Christmas gift, she wasn't concerned if it wasn't ready in time. With some trepidation, I agreed.

My cousin, a co-conspirator, sent me a number of reference photo's and I set to work just before Christmas, finishing the drawing around the New Year. On Sunday we all went out for a family meal and the drawing was handed over. The reaction was out of this world and I couldn't be more pleased with the way the portrait was received.

As I drew the dogs I felt myself buzzing .... enjoying every moment .... and thinking about what to draw next. Many times I've been asked if I have made any New Years resolutions and I always say "No", because I don't do that. However, something inside me is telling me that 2014 has finished and that 2015 is going to be a much better year. And so it is that as soon as the dog portrait was finished I put a clean sheet of paper on my drawing board and started the next one. It's my most ambitious yet ... I'm buzzing with excitement .... loving every minute of it .... and it's almost finished.

I think 2015 might bring me renewed enthusiasm for my art and I hope it brings you whatever you're wishing for too. 

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. ;-)

Forth Rail Bridge

I've often thought of drawing the Forth Rail Bridge but never seemed to get round to it. When I saw a photograph taken by my good friend Ingrid Ormestad on a misty, murky day I was intrigued at the way the bridge gradually faded away into the distance and appreciated the challenge in trying to capture that with pencil. This was drawn on Smooth Bristol Board. I know a lot of artists swear by it but I wasn't that impressed. I prefer more of a tooth but I felt the smooth surface was essential given the amount of detail. I think I need to try a few other smooth-surface papers.

I actually finished this drawing about three weeks ago but, just at that time, my 96-year old father became poorly. A week later, on October 12th, he passed away. Apart from the last couple of years as Alzheimers slowly started to take him from us, he has had a good life, being married to my mother for 68-years.

Now that my easel is empty and things are slowly returning back to normal, whatever that is, I'm thinking that my next serious drawing should be a portrait of Dad. Watch this space!!

Pen and wash ... again

I read recently that the best paper for Pen & Wash is Hot pressed, because of it's smoothness. I don't have any Hot pressed, but I was reliably informed that Bristol Board makes a good substitute, and that I do have. So I decided to do a painting on Bristol Board and chose this scene of Crail Harbour from a photograph taken by my good friend Ingrid Ormestad. I found it very interesting how the water stayed on the surface and was slow to soak into the paper, and I was able to draw much darker tones out of the ink than I usually do.

By way of comparison I then did this scene of New Road, Robin Hoods Bay using regular Cold pressed NOT. The darkest tones were harder to produce, but the water soaked in quicker making it easier to control.

Both were sketched using a Rotring Art Pen (nibbed) which I find a joy to work with, and the water was applied using Pentel Aquabrushes, which are as good in the studio as they are in the field. I found the drawing easier on the smooth Bristol, but the water application more controllable on the watercolour paper. I think I'll just have to get myself some Hot pressed paper and see how it compares. I'd like to think it will give me the best of both worlds. Watch this space!!!

I so enjoy this medium. I often think to myself that it's not 'real' painting and it doesn't produce 'hangable' work, but it's such fun ..... and surely that's what it's all about!!!

Contre jours

Thumbing through a back issue of the SAA's magazine "Paint" I came across an article by Paul Apps in which he explained how he did a contre-jour painting in oils of Venice. Contre jours simply means "into the light" and although this is something I've done in photography, it is something I've never attempted with my art.  I was very interested in the article and the evocative descriptions of the intense light on the water but tossed it to one side as I don't do oils.

However, the image stayed in my mind especially the bright highlights on the water and the muted, almost non-existent colours of the city behind, and eventually I mused "why does it have to be in oils .... why not graphite?". In my opinion, graphite is underrated and underused for landscape and seascape work so I decided I'd have-a-go and see what I could make of it.

I used artistic licence to darken the sky considerably from the light, twilit sky in the reference photo, and it's been necessary to darken the water too, in order to make those highlights sing. The end result gives a much darker picture but I'd like to think it's captured the atmosphere of a day drawing to its close.

This probably sounds like a very silly thing to say, but while making this picture I felt less as if I was drawing and more as if I was 'painting with pencil'. I thoroughly enjoyed every moment.

For anyone interested I have put a Work In Progress page on my main website showing the various stages.

Easing my way back

After a long abstention from painting I have finally taken up my brushes again. Regular followers will know that I enjoy working with Line & Wash and it therefore seemed the easiest way to ease myself back into painting. The first painting is an oval tub of Fuchsia's. Though I'm not a great gardener (pretty bad actually) I do have a passion for Fuchsia's. I have about 60-ish named varieties, and several plants of each, so that's a lot of plants. My garden is littered with containers and terracotta pots containing fuchsia's. This small oval tub with its weather stained wood and rusting straps contains a variety called "Snowcap".

The second painting is a sketch of a Narrow Boat I saw when walking the tow path of a stretch of the Grand Union Canal that passes fairly close to here. I find I can sketch plein aire much better than I can paint, so this medium suits me very well as I can do the line work in the field and add the colour back at home.

Finally, something completely different for me. In my forum we run regular challenges and this one was simply called 'Heat'. No pen or pencil here ..... just lots of wet yellows and oranges. It's entirely made up and looks more 'abstract' than anything else. Still, it looks hot, and that was the objective.

Stormy Sea

During a recent spell away looking after my elderly parents I fancied doing some art but wanted something I could pick up and put down every few minutes. I didn't want to get bogged down in detail so thought of subjects that didn't need any accuracy. I decided to try my hand at drawing a rough sea and waves crashing against the rocks. The reference photo I found using Google contained some buildings but, to avoid copyright issues and to keep things simple, I felt I could easily leave them out.

Longnor Market Hall

When on holiday in the Peak District last year we stayed near the sleepy little village of Longnor. In the centre of the village is a cobbled square and amongst the buildings surrounding the square stands this fabulous Grade 2 Listed building which was once the Market Hall. These days the Hall is a Craft Centre and Coffee Shop and if you're ever in the area it is well worth dropping in.

The last time I drew buildings it was of Robin Hoods Bay and I drew every detail right to the edge of the paper, leaving no white space (apart from sky). Somehow I think that made it artistically unappealing, probably because it was hard to see a focal point. So this time I have isolated the Hall from it's surroundings. I also decided not to use a ruler or straight edge and although I'm not unhappy with the straightness of my lines, a building such as this has razor sharp edges and that doesn't come across in this drawing.

One problem I had was of parked cars. I took a photo of the Hall with the intention of drawing it one day, but I couldn't get a car-free shot from anywhere. My photo was a fine reference for everything above 5-foot from the ground, but below that it was close to useless. However, I resorted to using Google Streetview to give me alternative views from different angles and despite the fact that it too contained unwanted cars, I was able to piece things together reasonably well.

It seems as if it's been a very long while since I last used my pencils for a serious drawing, and I really enjoyed doing this one. I think I may tackle one or two other buildings in this way.

Ooops!!

I drew a mirror for a current project in my art forum but dropped it putting it in the scanner. lol.

A couple of days ago, on the 70th Anniversary of D-Day, I felt the urge to draw my own tribute to those who took part and made the ultimate sacrifice. My father went across 3 days after the main invasion but thankfully he came home ... so many didn't. It's a simple drawing and didn't take very long, but it was something I needed to do.