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.

   

Sketchbooks Galore!

Sketchbook pages from Social Sketchbook event in The Walks.

The past week and a half has been full of sketchbook work... First was the Social Sketchbook event in The Walks, a lovely large park in King's Lynn. We arranged to meet at the bandstand which had been undergoing some renovation work and as we assembled the protective metal barriers were being removed - what perfect timing! As I arrived early I had already begun to sketch the bandstand. It is not my usual preferred subject matter and with some tricky perspective issues it was one I began to wish I hadn't started. So, as you can see below, I abandoned the idea of any realism and went for a quick pen and wash rendition.

Correct perspective abandoned so I could just enjoy approximate shapes
and a dash of colour. The allium buds were there too, but the horse was the last
 thing I sketched at the previous Social Sketchbook in Stow Bardolph.

The weather was bright but definitely breezy and had most of us seeking more sheltered spots. There was plenty of variety for subjects including the river, ducks, bridge arches over the water, planted areas, wild areas and many different tree species. One big attraction for me was the old town wall. When I walked through the arch to the other side the wind suddenly hit much colder and stronger and I had to admire one member who had bravely set up her seat and been working there since the start!

This was as far as I got sketching the old town wall before the cold set in
but we were due to reassemble anyway...

It is probably just visible in the photo above that the double spread page in the sketchbook had been prepared at home with gesso tinted with acrylic colour. A technique I like to introduce to add variety and texture when working in pencil.

Congratulations to the hardy Social Sketchbookers at the end of a morning in the park! 

My 25 minute final sketch to capture a little of sprouting leaves
and the lumps and bumps at the base of a fascinating tree trunk.

My second sketchbook event was to lead two morning workshop sessions for Freebridge Community Housing. They have a Wellbeing Week for staff and put on a variety of activities. Last year I ran a charcoal drawing workshop and this time I decided to do a Quink Ink Drawing session. I arrived laden with paper; card; small jars of decanted black Quink ink; dip pens, wooden skewers and feather quills for drawing with; covers to protect the tables; water; pots; brushes and masses of natural objects to use for inspiration.

Drawing with Quink ink in handmade simple accordian sketchbooks at
Freebridge Wellbeing Week.

The sessions started with an introduction to Quink ink and a short demonstration on using the various drawing tools and introducing water to allow the ink to bleed and create washes. When the wet ink floats in the water the components disperse into blues, greys and ochres - like magic! After a practice with mark making and trying out the techniques themselves we constructed small scale simple accordian sketchbooks, glued on coloured card for the outer covers and the remainder of the time was spent filling them with delightful sketches based on the natural objects.

Due to the less sophisticated drawing tools and the unpredictable nature of the ink the results were full of character and the accumulation of these drawings was impressive. The participants seemed happy and relaxed, chatting as they worked so I hope the experience was beneficial and contributed positively to Wellbeing Week.

Accumulation of drawings full of character.

So now I am busy with final preparations for the Focus on Flowers workshop at Dobbies Garden Centre and the morning element involves - you guessed - sketchbooks! The afternoon will be time for a longer study using watercolours and coloured pencils.

Just to finish this post I'd like to return to the drawing session in the park. When I did a 'research' trip, prior to making the arrangements, as I wandered round I remember thinking 'why don't I come here more often?' and at the end of the Social Setchbook event many others voiced this thought as well. Spending time in an area, looking, drawing, experiencing sights and sounds over a more intense period of activity is a great way to really get to know a place. Highy recommended. If you find a small parcel of time in the coming weeks, grab that sketchbook and favourite drawing tool and get out in the open, especially as the weather improves...

Change... Artist Block, and an Action Plan!

End of an era... Henderson Art & Framing closing down sale.

Change now is inevitable, and I am still trying to get used to the fact that Henderson Art & Framing is now closing and will finally be locking the doors at the end of May. In the meantime they have a half price closing down sale so if you live nearby hurry along to stock up, and resolve to continue your art journey, one way or another! (Fortunately Bill will continue framing from home). Henderson's has been a big part of my life for the past 7 years and I have gained so much enjoyment and experience whilst working there as a freelance art tutor.

I have put several plans in place so that my class members will be able to continue with their drawing and painting and am currently offering one workshop a month, and one Social Sketchbook event a month. Probably not the week-in-week-out classes they might have hoped for but feel this is an opportunity to spend some time reconnecting with my own personal artwork. With a lot of my time spent researching, preparing and delivering art classes I have often let my own work take second place - you may have noticed that I have only been snatching time to sketch recently, when did I last work on a painting? Having spent time over the past weeks reflecting, envisioning and implementing a plan for life without Henderson's (plus a few health dramas for other members of my family) I wanted to get into the studio and do some work. But... nothing... the intention is there yet I avoid going down to the studio... so, nothing. I have ideas for drawings and paintings but that vital spark seems absent. Somewhere along the line I feel I have lost a sense of who I am as an artist, or maybe my art is in a phase of transition? This all sounds very existential but it's as if I don't know what 'my work' looks like any more; that it has moved on in my head but not in the real world because the practical, tangible work is missing.

Before I set out (publicly) an action plan let me assure you I haven't been wallowing in angst and hiding, and have organised two art events recently.

Drawing evening for King's Lynn Embroiderer's Guild.

I really enjoy connecting with people through art and was asked to put together an evening to help members of the King's Lynn Embroiderer's Guild with some drawing tasks to get a new project, based on ancient textiles, off the ground. The group were very enthusiastic and tackled three tasks with gusto.

The group working hard on selecting cropped areas
to transcribe in a drawn grid on A4 paper.

Using black felt pens they drew motifs from fabric samples or reference materials on tracing paper (four sheets each) which then could be layered to create more complex designs in a variety of configurations. This was followed by drawing cropped sections into six squares by isolating areas with a viewfinder. Finally a coloured positive / negative image was obtained by covering cartridge paper with a variegated coloured layer of soft pastel, overlaid with oil pastels. When drawn on the reverse side the design got transferred as a positive line on white, leaving the original as a pale negative line on a coloured background. Congratulations to all the members for working so hard and producing some great work - I hope it will prove useful as a springboard for generating further ideas.

Social Sketchbook event at Stow Bardolph.

The first Social Sketchbook event was held at the beginning of the month. I had arranged for us to meet at Church Farm, a small rare breeds centre in Stow Bardolph. The weather was relatively kind as previous days had been wild winds and bitterly cold. Although still chilly, the wind had dropped considerably and the sun even put in an appearance.

A curious pig returning the interest as one member sketches quickly
 to capture her expression.

Smiles all round - but ready for a warming drink and snack in the Tea Room,
where one member is already happily ensconced.

The group seemed to enjoy the opportunity to work outside of the studio environment, and quickly overcame any concerns about using sketchbooks in such a busy environment (it was the start of the Easter holidays and bustling with families enjoying the farm animals). There were nine of us and as the farm is quite compact we all moved about focusing on what caught our individual attention, yet frequently were in close proximity to one or two of the others. By early afternoon the nip in the air was taking it's toll and we were ready to retire to the Tea Room for a hot drink and light lunch while we chatted. The social aspect has always been welcomed by members of my classes and I hope more will join the Social Sketchbook events in the future.

*The drawings below are from a few pages in my sketchbook and apologies for the blue tinge, the paper is white, honestly.

   

Sheep study in Goldline 8x8" hardback sketchbook.  

Sheep and lamb sketches.

Quick Whitepark cow head study.

   

So, back to thoughts of the future... what do I plan to do about this (temporary) artist block?

1.  Introduce structured hours in the studio, or on location. Just show up whether I feel like it or not.
2.  Work from life as much as possible - whatever takes my fancy initially - I feel sure that if enough work is generated that eventually subject matter or a theme will emerge. It may still be animals and the natural world, or it may be something different, I will try to be open to whatever transpires.
3.  Be productive, encourage quantity so that I may move beyond the more obvious.
4.  To have a period of experimentation, play and discovery and to withhold judgement and criticism to begin with - what will be, will be.
5.  Continue to encourage the social aspect. Spend time outside of the studio with other artists, either at art events or to draw and paint in company.
6.  To keep my teaching schedule manageable so that continuity of my personal work remains strong.
7.  Outside of 'work hours' continue to read art books / magazines / watch art DVD's or You Tube and as ideas, media, subjects or treatments capture my interest to have a go and see what happens.
8.  If I feel really stuck to just play around with colour and create abstract backgrounds to use as a base for drawing / painting / writing over.
9.  To keep positive as this situation has happened before, is likely to happen again in the future and is part of the creative cycle - it happens to most of us at some point!
10. To post more often to this blog, in the hope that whatever I produce in the next few months - whether good, bad or ugly, will give you some insight into this frustrating lull in motivation, but that it can be overcome.

Has something similar happened to you? How did you cope, and what strategies were useful in getting your art back on track?

Circomedia & Drawing Circus Performers

Trying to capture movement.

This time last week I was in Bristol, staying with my daughter, and it was the eve before an amazing drawing workshop lead by Sara Easby from the Bristol Drawing School. The drawing day was held at Circomedia - the centre for contemporary circus and physical theatre - in St. Paul's Church, Portland Square. The church was saved from dilapidation and converted in 2004 and now houses the UK's largest indoor trapeze rig and aerial facilities. Visit www.circomedia.com for more information.

Circomedia, St. Paul's Church, Portland Square, Bristol.

The day dawned bright but chilly and we arrived at the venue in good time. We had come with sketchbooks (size not specified so I kitted us out with A3 as capturing moving figures suggested to me bigger gestural strokes), pencils, charcoal, Neocolour crayons and water brush pens in case we had time to brush pigment out into a wash.

Sara started by introducing simple ways to tackle figures in constant movement - from a single sweeping line of action to 'pin men' and suggested that we keep in mind where the weight was distributed. Basically we would be trying to capture first impressions, no detail, and just explore how to best describe the evolving configurations of the circus performers (our models) as they practised their skills!

To give you an idea of what we were up against I offer this brief video clip taken on my phone:

A small selection of my A3 sketchbook pages...

Acrobatics, in pencil, A3 sketchbook.

Acrobatics, pencil, A3 sketchbook.

 

Acrobatics, pencil to capture first movements
and superimposed with charcoal
as sequence of positions changed.

Things got a bit more scribbly and manic as I tried to get the essence of our 'models'  doing some juggling with first the diablo then balls/skittles. Can you make head or tail of these?

Juggling, pencil, A3 sketchbook.

Juggling, pencil, A3 sketchbook.

Juggling, pencil/charcoal pencil, A3 sketchbook.

All of this was before lunch! Three quarters of an hour later, back into the fray, with a variety of circus skills on offer. Our next models warmed up...

Circus performer warming up on the floor...

Warming up...

... before they both took to the air on the trapeze!

Two performers on the trapeze.

Two performers on the trapeze, Neocolour crayon.

Two performers on the trapeze.

After the trapeze came Poppy creating beautiful shapes with the Hoop...

Performing with the aerial Hoop
(apologies for the blue tinge - the paper is white).

... and Johnno working with the long drape of red fabric...

Aerial performer with suspended fabric.

Amazing shapes of aerial performer with suspended fabric,
Neocolour crayon, A3 sketchbook.
(Apologies for blue tinge).

By this time everyone was beginning to flag from the intensity of the looking and rapid mark making trying to get the gist of 'poses'. I have done a fair bit of 'blind contour drawing' in the past whereby the drawing is created whilst the eyes are focused solely on the subject matter and not on the page at all - a strategy that proved very useful at times. Then just when we thought we had seen it all the final performer took to the sky - well, the curved swing suspended high up near the ceiling. What a finale!

By this time many people on the workshop had called it a day with the drawing, either from tiredness or shear awe at the difficult task of capturing anything of this last performance. But I was determined to give it a try...

Holly on the curved swing, Neocolour crayon, A3 sketchbook.

The whole day was fantastic. I had treated not only myself, but my daughter (who also likes to draw when she gets the time) as a birthday gift to her, to spend such an extended period of time grappling with this near impossible task of capturing something meaningful of these incredibly hard-working, skilled specialists of the floor and air. Thank you Sara, and the talented circus performers of Circomedia for such an incredible experience.

If you are interested in finding out more about the courses run by Bristol Drawing School visit www.drawingschool.org.uk.

I will leave you with another short clip of Holly on the curved swing.

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!