Sketching Birds at Pensthorpe

Yesterday I had the pleasure of being a student again on a workshop at Pensthorpe Natural Park tutored by Mark Boyd for the company Art Safari www.artsafari.co.uk. It was a small group so Mark was able to give each of us plenty of support and encouragement, plus he was extremely knowledgeable about the species that we studied. He suggested we first look for the oval head shape and direction of the beak, then at the body which he likened to the shape of an avocado pear. He touched on the subject of bird anatomy so we could envisage the fact that most of the leg was within the body and what we consider the knee is actually the equivalent of the ankle. It was important to observe closely the leg positions so that our drawn birds would convincingly stand up with their weight balanced. Quite tricky when many birds at rest or dozing stood on one leg!

I started my sketches in an 8 x 8" hardback sketchbook using a stick of charcoal.

For the next page I switched to a black Inktense stick as the smudgy charcoal
irritated me. The avocets were stunning and so elegant.
Also was delighted to catch sight of the bearded tit in the dense reeds,
but no chance to try sketching these small elusive shy birds. 

Over the page again and now using a graphite pencil stick,
 holding it with an overhand gentle grip and broad sweeps before
adopting the traditional 'writing pen' position for more controlled fine
lines to add definition to the shapes in selected areas.

Continued with the graphite pencil stick.
The long spindly legs of so many of the wading birds are fascinating. 

Pencil.

Here I was looking at movement and in the lower right half of the page
I attempted to record various positions of a single avocet preening.

I switch medium again and try a black brush pen for the bird on the far left.
It felt a bit scratchy on the paper so changed to an Edding pen but that too
didn't flow smoothly and seemed a bit dried up.

At this point it was lunchtime and we all retired to the spacious cafeteria for hot drinks and a meal. It was only on stopping that I realised how chilly I had become while sat in one position on a little sketching stool, despite being well dressed for the overcast weather. It was enjoyable chatting and getting to know one another a bit better and to find out more about our different backgrounds and art experiences.

After lunch we moved back out and chose a different area to work in
with other bird species. We were encouraged to work with wet media
in the afternoon and I had fun loosening up by using my new black Elegant Writer pen.
It is really a fibre tip pen for calligraphy but is increasingly being used by artists
as when water is introduced to the penwork beautiful greens and pinks appear
as the pigments separate, an effect reminiscent of my much loved Quink ink.
(Thank you Sue and Kay for introducing me to these pens).

I loved these storks standing on one leg with their powerful long beaks
nestled into their long white chest feathers.

Bar-Headed geese with the Elegant Writer pen,
water was introduced with a water filled brush pen.

It was now time to move into more colour... initially I tried Inktense sticks
but for the afternoon I had decided to work in an A3 watercolour ringbound sketchbook
and the pigment caught on the texture of the paper and was reluctant to soften and dilute
smoothly even when water applied with a paintbrush.
There was only one thing to do - bring out the watercolours!

Unfortunately I didn't make a note of what this duck/goose is,
but the watercolour is a composite of several birds as they assumed the same position
while milling about right at our feet. The other little pencil drawing
was of a single duck who promptly disappeared towards the lake, not to be seen again!
As it was the vibrant splash of red on his beak which attracted me I put that in to remind me. 

Back to the stork, in watercolour this time.
A light drizzle caused little starburst speckles in the drying wash,

As my eye tuned into the smaller compact shapes of some of the ducks I decided
to try capturing their shapes purely in watercolour, no pencil drawing first. To finish
off we were encouraged to think about showing a group of birds and I returned
to the speedy pencil lines to do this, see lower left. 

What a fabulous day. We absorbed lots of information and remained focused as we tried to record our observations of the shapes and movements of a variety of birds. To close the day we gathered together back in the cafeteria. Hot drinks all round again as we discussed our experiences and then Mark quickly showed us some of his work to reinforce some of the teaching points but also to encourage us to consider different ways of working even when outdoors and working from life - collage or even monoprinting. 

Maybe you will be inspired to look more closely at the birds visiting your garden, or on a local village pond? Get the sketchbook out and give it a go. I know I will be attempting more bird drawings very soon, hopefully now with more success than in the past.

   

Creative Christmas - Sketching House Rabbits...

Sketching Odie using sepia Artline calligraphy pen 3.0
in a Goldline 8" x 8" harback sketchbook.

Apologies for my blog being quiet for so long... and I wish any readers a belated Merry Christmas! It seems to me that artists fall into one of two camps at this time of year. They are either rushed off their feet and spend every moment racing to fulfil commission commitments and seasonal greeting card orders, or, go very quiet and seem to fall off the creative planet as Christmas preparations (meal planning and family logistics) take over. This year I have definitely been in the latter mode... with a new kitchen thrown into the mix - which is almost finished. I must add that I have had a lovely Christmas and once the final shopping trip was done, and presents all wrapped, it has been great to spend time with family.

However, with my daughter visiting for the festive period I have finally managed to get my artist mojo back as she arrived with, not only her (new) husband, but her two house rabbits as well!

The two house rabbits - Odie on the left and Thor on the right.

I had two sketching sessions when Charley and I let the rabbits have the freedom of the conservatory to stretch their legs and for me to practise drawing live animals as they moved around (often at speed).

Thor investigating the sketchbook...

A brief moment when both rabbits are occupied and relatively still...
it didn't last long!

Pencil sketches of Thor.

A few brief lines then Odie was off, scampering around the conservatory!

Another day and another attempt - using pen this time.

Odie drawn in sepia Artline calligraphy pen 0.3,
and Thor drawn with Edding profipen 0.7

I tried working directly with watercolour using a water filled brushpen... hmmm, very dodgy results and page too wet to turn over and keep going. Decided to return to a more user friendly pencil.

Can't imagine why I thought it would be a good idea to try watercolour...
(once the page dried added a few pencil lines before moving on).

Ah, back to pencil and as Odie calms down a bit and nibbles fitfully on some
cabbage a more satisfying sketch emerges.

Close up detail of sketch capturing the character of Odie...

Thor still lively and only manage quick lines
as pencil dances across the page to try and keep up.

Some rear shots...

Lines showing more confidence in execution...

Final page of rabbit sketches - "such fun"!

The series of photos and the video clips highlight how tricky it is trying to make sketches from moving animals! My approach is to keep expectations low - focus on observing the animal, how does it move, what shapes does it make, what are the eyes, ears, nose like. What are the legs and feet like - how does this affect movement? All these fragments of lines, combined with hard questioning and looking, help to build up an understanding of the animal... page after page of simple elements are testament to the challenge of drawing a living creature and I am satisfied that I have learnt more about the animal, and drawing, during the process than from a single static photograph, especially if it is one that I haven't taken myself. However should I go on to create a more finished piece of work from a photo of Odie or Thor it will be with this first-hand knowledge backing up my intuition.

If you have the opportunity to work from live animals, grasp it, enjoy the challenge and accept the limitations imposed upon the results.

It just remains for me to wish you a Happy New Year and see you in 2015!

Sketching in Lisbon

Sketching by the River Tagus, Lisbon.

First, I must apologize for the break in blog posts. No excuses, and there have been many occasions when I think there are drawings, paintings or art events that I would like to share with you. I can only resolve to do better...

The most recent exciting excursion was a mini break with my husband to Lisbon in Portugal. Just a two-and-a-half hour flight and we find ourselves walking around a fascinating city with a vibrant mix of culture and history, wealth and poverty, all jostling side by side.

Mosaic style paving along the Avenida da Liberdade,
typical of much of the paving patterns in black and white around the city.

Our hotel was situated in a quiet side street just off the Avenida da Liberdade, a wide avenue that leads straight down into the heart of the city. After dropping the bags off at the hotel for safe-keeping (until later in the day when we could officially check in), we sat in the shade along here sipping coffee from a kiosk-style cafe as we orientated ourselves and settled into this new environment. As we got up to leave I recall mentioning to Paul "I must sketch this next time we sit here..." as I loved the dark shade under the trees contrasting with the bright sunlight. Silly me, should have done it there and then. We didn't actually pause there again and the opportunity / inspiration was missed!  

 

Sketch in pen with pencil shading to pull trees forward and 'frame' the building. 

We managed to pack in plenty of sightseeing, and purchased a 2-day ticket for the regular hop on - hop off tour buses with commentary offering insights to the area and buildings / events of note. A trip along the coast, up narrow twisting streets to the castle, around the key areas of the city and yet another, to the newest commercial part at night with some very contemporary architecture dramatically lit. Many of these areas were revisited on foot to investigate at a more leisurely pace. 

Sketch and notes from the Jardim Botanico.

The guidebook describes the Jardim Botanico as having 'a distinct air of neglect' but I wanted to visit anyway, and after a bit of a hunt to find the official entrance, we were pleasantly surprised. The complex comprises of two museums (Natural History and the Science museum housed within one large mansion) and ten acres of gardens. The ticket operative informed us that only last year it was finally recognised as a sight of special interest by Europe which meant that this year the government has released money to be spent on reforming it all to its glory. Already it was evident that much work had been done. I took a host of photos based on the effects of light and shade on the exotic trees, and when we rested on benches, I managed a few sketches.

Dark shade beneath the palms captured quickly in pencil.

All too soon our trip was at an end. There were still museums and places we would have liked to visit but choices have to be made, and we can recommend the Praca do Comercio, a visit to The Lisboa Story museum, the trams, the tour buses, the Castelo de Sao Jorge, the Monument to the Discoveries, and the old Carmelite church in Chiado with the graceful skeletal arches standing as a reminder of the 1755 devastating earthquake. Should we find ourselves back in Lisbon at any time a visit to explore the Gulbenkian Collection would be high on my list, plus some of the other fine houses and collections further afield. 

Imagine our surprise when we arrived at the airport, in the evening, to find that our flight home was cancelled due to a strike by pilots and aircrew! After some time staff managed to secure us seats for a flight the following day. To our delight we were booked into another four star hotel overnight, in the posh commercial area, all paid for by the airline and with a three-course meal and breakfast too. This proved to be a contemporary 'boutique' style hotel and contrasted with our previous one, also delightful, but old style traditional with heraldry and a calm air of gentile living and attention to the finer things in life.

    

Colourful tile montage of superheroes outside the hotel
for our unexpected extra night in the commercial quarter of Lisbon.

After a lovely meal, good sleep and hearty breakfast we had a few hours to fill before we needed to head back to the airport. A short stroll and we found ourselves along the riverside. It was bright and breezy and Paul had hoped the cable cars would be in operation. However I was a little relieved that they open later in the day as my head for heights isn't always good, and resolved to use the time for a sketch instead.

Cable cars along the promenade by the River Tagus. 

My view along the promenade working directly with pen,
perspective might be a bit dodgy but pleased I included
cable cars and some joggers.

A short break like this can be very inspiring and invigorating - highly recommended! Paul is already planning a short trip for next October, maybe Naples, and I am already planning to be much more productive next time in my sketchbook...which means plenty of practice between now and then.

If you are thinking of a trip, consider tucking a small sketchbook of quality cartridge paper, with a few pens, pencils into your handbag; maybe a waterbrush and petite watercolour pan set too?

Sketching equipment for Lisbon... Daler-Rowney hardback sketchbook (13.5 x 15cm),
small leather makeup bag used as pencil case, Edding black pen 07,
Pental 0.9mm clutch pencil (spare leads in pencil case), waterbrush
and Winsor & Newton watercolour pan set.
These all fit neatly in the front pocket of this handbag so I'm ready for action!

Fun with Pen and Wash

Winter Heather and Statue, 32 x 24cms
Edding permanent pen and watercolour
on Fabriano 5 HP watercolour paper. 

I think the most popular media this Autumn Term, in the Mixed Media Class, was using pen and wash.  I planned two sessions - one either side of the half term break.  The first was using a permanent pen, which leaves a fairly uniform line even when using a 0.7mm.  The second session I introduced a dip pen and Indian ink which enables flowing calligraphic lines, and a more hit-and-miss approach.  I find the loss of precise control can lead to bolder, fresher work.  Whichever method, many people like to start with a simple pencil drawing to establish the composition, it gives confidence when starting with the pen as it cannot be erased - so any mistakes have to be incorporated and lived with! I suggest setting off with a bit of urgency when first going over the pencil lines in pen, working too slowly and deliberately can produce a very static line.  People are often surprised at how they unconsciously go on to embroider more details once they get going, and with surprising confidence. At any point the pencil lines can be erased to leave a clean pen image before introducing passages of watercolour.

The subject was quite open in that I suggested 'holiday' as a theme for exploration.  This could range from the broad holiday view of a scene captured on camera as a memory, to a close up detail of something of interest.  The example I worked up for the session (I usually photograph the stages and print off to show the progression) shows a weathered stone statue from a winter walk last year, the heather framed it so beautifully.  The cropped close up view below shows how I had to think about what sort of marks could be used to portray the various textures.

View close up - variety of marks to describe various textures.

For the session using the dip pens and Indian ink I chose to incorporate working from still life.  As an added interest I suggested looking at the illustrations used to advertise Worzals, a local garden centre/farm shop/cafe.

Adverts for Worzals Farm Shop.

Studying these illustrations closely showed not only the beautiful quality of line but also that some printing had been done using actual leaves etc.  A marvellous opportunity to have a go at another approach...

Calligraphic lines using a dip pen and Indian ink,
plus some leaves of the purple sprouting broccoli painted with ink
and used to print on Fabriano 5 HP watercolour paper. 

Ink painted onto head of purple sprouting broccoli
before used to print texture on the paper.

All very hit-and-miss,
loose lines added to enhance leaf prints, ink blots welcomed!

Watercolour washes added - free approach kept going
with paint not restricted by line and more spatter.

I also had fun with a second offering,  I couldn't resist these beetroot when I went shopping.  I think my enjoyment of the subject matter and treatment shows in the work itself!

No pencil drawing this time - straight in with the dip pen.
Beetroot cut in half to make print bottom left.  Brush also used to add ink as shadows. 

Watercolour washes added.

The feedback from the sessions was very encouraging and in the final session of term, when members can work on something of their own choice (or finish off work from previous weeks), many opted to have another go using one of these methods.

I also had another stint using the dip pen recently, this time with Quink Ink.  When diluted with water this ink tends to separate out into blues, greys and ochre - all by itself!  It is perfect for using in sketchbooks, but be aware that it is not very lightfast.

Studies of natural objects with dip pen and Quink Ink. 

A look back at sketching in Rome

Ooops, apologies for the long gap since my last post.  With hindsight I often think, 'oh I could have blogged about that'.  The secret is obviously to post little and often.  Well, that's one New Year Resolution decided!

Sketching at the Trevi Fountain, Rome

At the end of October I had a fantastic 4-day break in Rome.  I had high hopes of all the sketchbook work I would get done - buildings, ruins, cafes, piazzas and fountains...  Well, that was rather ambitious in the end. Paul and I went with two friends and had a brilliant time, Rome certainly exceeded expectations, but there was very little time to pause and paint.  I amassed lots of photos which may come in useful at some point, but admit I am disappointed that I failed in my mission. However, here is my meagre offering...

On the aeroplane...

 

Ruins, but it was the Pino (Pine) tree that attracted my attention

Rapid sketch in Moleskine sketchbook with Edding pen 

We managed to see all the big sights - the Vatican and Sistine Chapel, St. Peter's Basilica, the Roman Forum, the Coliseum, the stunning National Monument to Vittorio Emanuele II, Trevi Fountain and much more.  Lots and lots of walking, but I have never been to a city with so much history in a relatively small area.  It is said that if you toss a coin in the Trevi Fountain it ensures you will return to Rome one day.  We all obliged, but I really would love a return to this amazing city (with a bit more time to actually slow down and get some sketchbook work done).

Tomorrow I will introduce a few more pieces of work done recently and between Christmas and New Year I shall review the Resolutions I made at the beginning of the year - it will be interesting to see how I've done.