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. 

Holiday Sketchbook in France

Creating a watercolour sketch in Le Crotoy 

Bonjour!  I have returned from an amazing, relaxing holiday in France.  Just an hour from Calais, on the outskirts of a town named Rue, in an incredible Chateau for a whole week.  Bliss.  When will I realise how much easier it would be to post more frequently?  With hindsight I could have explored the possibility of using my mobile phone to upload images and text to this blog.  I have quite a few images to share with you of work done in 2 different sketchbooks.  One was a gift from friend in the West Norfolk Artists Association - by Derwent (17 x 12cms) it has useful pockets inside the soft suede-like hardback cover to store receipts or collected ephemera.  I discovered that pencil and pen glide beautifully over the paper surface but light washes of paint soaked in immediately.  This sketchbook became ideal for quick line drawings when time was short.  The other sketchbook is from Stillman & Birn in the Delta Series (14.5 x 22cms).  I had read a lot of favourable comments about this brand and wanted to try it myself.  It's a little larger than A5, black hardback, and I found it takes watercolour, water soluble pencil and Inktense pencils really well.  This sketchbook then is perfect when time is more flexible and I can settle down with some watermedia. Here's the art kit I took with me:



Art equipment fits into small (stylish) shopper bag

  

Large pocket on front of handbag perfect for sketchbook & small pencil case

 



I shall not bore you with lots of words and waffle this time but hope you enjoy the following photos of some of the sketches I made during my week in France.  Oh, starting with a few from Dover as we stopped there the night before taking the ferry...

Two views from sitting on a bench in Dover

A few captured lines from studying the ever moving seagulls and pigeons on beach

The harbour gets busy with people and the local sailing school

 

Evening stroll, stopped to watch cattle by Chateau entrance

Inktense pencils - attempt to cope with all those greens!

 

Guess where I am...

Monet's House and Garden, Giverny

Not brilliant but looking at it brings the experience back fully - the receipt
 was from early lunch and yes, I had small Prittstick in my pencil case! 

 

The famous bridge - painted on a wet afternoon in the Chateau from my photo
 (the only one not from life)

Water soluble graphite pencil to describe misty start to the day



 

A second sketch with soft diffused watercolour washes

Looking out across bay at Le Crotoy

Pencil sketch - view across site Battle of Crecy, 1346

Visit to museum at Azincourt.  Overheard young girl whisper to parent "I saw a lady drawing in her book"...

Observing cattle just up the lane from the Chateau

 



The cattle quickly lost interest in me, and I was left in no doubt

Nell the Chateau cat is very old - like most of the fixtures & fittings in the Chateau!

Lovely way to spend an hour on our last afternoon in France

I have a confession.  I did try one plein air painting with water mixable oils in the week.  I stood in the delightful Chateau grounds and attempted to paint the building itself, framed by trees.  I thoroughly enjoyed the process despite struggling to depict the façade of the building and all the windows without getting fiddly.  However, I confess to it being a total disaster.  The painting looked very flat and unconvincing.  Take heart - it happens to all of us!!!  Nothing for it but to keep on trying.  And I have a cunning plan to keep me motivated and to continue working from life - a self set project in the pipeline.  I shall reveal all in another post soon.

Rear view of Le Chateau du Broutel