You may remember I made a New Year’s resolution to draw every day. The not unexpected news is that I haven’t done that, but I have done some drawing.
I thought that the best way of ensuring that at least some was done, was to start my classes by arranging that my students, (and therefore me!) did a ten minute sketch at the beginning of each session. We would work in biro so that we were not distracted by rubbing out, and no one need show their work to me or anyone else unless they wanted to. There is a lot of apprehension for many people when drawing is mentioned and I wanted to make the whole practice as pleasant as possible.
Here are some of the things we drew. The Class are enjoying their mini drawing sessions, and we all find that we are looking more analytically as we draw. I don’t think my drawing as improved yet, it’s early days after all, but I do find I have more willingness to draw for painting without employing any of the “crutches” I have used in the past.
Recently, a new Gallery has opened in Farndon, which is great news for local artists. The owner, Ian Walton, who is also an artist- www.ian-walton.com – is punctuating the regular display with themed exhibitions, his first on being “Capturing Spring”. I am delighted that he has accepted two of my own paintings for display in this exhibition, which is running from the 25th of this month to mid-April.
The first of these paintings I want to share with you is this little waterfall.
It’s quite a big painting, 23 inches by 34 inches, but the waterfall itself was not much bigger. I came across it on a Lakeland holiday. It is such a delight -the first long fall then the tumbling splashing escape to the water below, the brave little sapling just showing its leaves, the russets of grass and bush, and what about those rocks! Even in the little places they create the landscape. Deep darks counter-change the light catching the water, rocks and leaves just so.
In contrast, the other painting is light and open, typical of the gentle landscape of parts of Cheshire and Shropshire. This is not a very good reproduction – one of my many future tasks is to get to grips with my camera. The road plunges down the slope, turning at the bottom to climb the hill on the other side. In reality, this is not a road to be walking on. It’s very busy, a fast road with double yellow lines on each side. You would be taking your life in your hands to venture on it. But I have always loved this view which opens before you as you breast the hill. I have made it people-friendly so I can share my pleasure.
Do go to the Exhibition if you live nearby – there is lots to see.
I found the instructions for this delightful little book with pockets on youtube (here), and as I was painting small for the SAA Wall, saw a place to hold my own small treasures. Then I saw that the construction would allow me to design a Dragon to guard them. He would wind round the meandering strip nicely – but I’m getting ahead of myself. That’s a future project. So here is my first attempt.
I used a sheet of marbled paper I had made eons ago on cartridge paper so it’s quite stout and will hold its shape easily. Folding the paper correctly was easy, but working out which edges to stick to make the little pockets was a little more complicated. I have a little tool which cuts the half moons in the top of each of the seven pockets neatly, if not always in the right place. Book cloth from the same era as the marbled paper covered the outside (strengthened by card) which I decorated with circles cut from the paper offcuts. It’s a nice little tool and I was enjoying it.
Now I need to paint seven small treasures – a good discipline as I usually paint big. Seven is a number to conjure with- seven days in a week, seventh month of the year (July holds my birthday), the seven stars, or making it easy, seven small paintings I’m pleased with.
I’m rather pleased with this watercolour especially as I have not used the medium for a while. But being able to paint more regularly at the moment has paid dividends. For once, I’ve taken it slowly, working forward layer by layer using increased detail to enhance the perspective. Watercolour can be such a quick medium that I sometimes feel that if the painting is not completed in half an hour or less, and at one sitting, then it isn’t a proper watercolour. Where I picked up this misconception, I have no idea.
This painting is loose as well as detailed. The cool blues and lemons of the distant hillside give way the the shadowed slope of the valley and the great shout of colour in the foreground. The dark evergreens on either side are a good foil for the sunlit tree trunks. I like the zigzag tracing the land forward through the scene.
Incidentally, the painting reads well even in monochrome, so the tonal values must be right!
Well, here it is. I am almost sure I have finished. I will put it up in the studio for a week or two before I sign it in case something jumps out at me. I have to say his eyes look very strange in the photo, but not in the painting itself. A critique from a friend would be useful!
However – there is always an however – I am dissatisfied that I couldn’t make more of it. It’s OK as far as it goes, not without input from me, especially in the colour sense, but I would like to try again and make it less representational. I think I will try mixed media, using “Collage, Colour and Texture in Painting” by Mike Bernard and Robin Capon, mentioned in my New Year post, as my guide. I am hoping to make something with more atmosphere, more mystery, something less obvious. This will not be a quick exercise as I will be well into personally uncharted territory. Wish me luck!
I worked on her face first in more detail. If you remember the mouth was very loosely indicated, her nose was twisted, and her hair was a rather dull brown, so plenty to do.
I think I’ve done reasonable well here – she looks altogether more human. Although I have made corrections, I haven’t lost the vigour of the brush strokes, and have achieved more successful tones. The upper lip is still too light, and I would like a more nuanced tonal balance around the eyes.
Then, I tackled her hair which is more auburn than brown or red. A touch of alizarin in the mix seemed to do the trick. I know the hair is a bit dome-like, but that was how it was done in those days – I know, I had one too! Even so the carefully sculpted side curl is too thick. It needs to be more airy.
I turned to him – at least he now has a nose and mouth, and they are believable. His eyes are still too narrow and almond shaped. The modelling on the face is not that strange colour in actuality ( I haven’t worked out the vagaries of my camera yet). Both faces are still rather flat, so I need to attend to the shading again. Then there is the matter of making sure they both have space in the painting to be more than cardboard cutouts. Still progress has been made.
Things started well. I began by painting the darker areas using Sepia and Chrome Green to give some variation and depth, suggesting shadows where one figure overlapped the other as well as the facial ones already indicated. A few marks represented folds in clothing, etc. By working over the whole painting in this way, I am able to maintain the integrity of a joint portrait. I was enjoying the process and happy with the result.
The next visit was a mistake – hurried and thoughtless, more interested in moving the painting on than in doing so successfully! and this is the result. I could have wept. They look as if they have a serious skin complaint! On the up side, his jacket looks the right colour, and I haven’t obliterated all the careful drawing, but that was a definite lesson in not trying to hurry because there is only a short time available at this moment. Better to leave it and tackle it when things are more serene. So that is what I did – and was rewarded by an altogether kinder painting.
I started by painting the background, partly to paint myself in and partly to reduce the amount of white canvas glaring at me. I may have used too bright a colour, but I can adjust that in time, and it does the job right now. The painting looks better even without working on the faces, so it has encouraged me to continue. Indeed, I rarely bin anything until it’s finished – sometimes you can surprise yourself!
Then I tried again on the faces and hair. I feel much happier now. They are still a bit spotty but altogether warmer, more friendly. The shading is better balanced and the eyes of both are good for this stage. Her nose is twisted! and both mouths sulky, so more work there. Her muted green dress fits the colour scheme, his shirt less inclined to dominate the picture. Progress.
You may remember these two photos in my New Year post. They are of my friends when young! At the time, they didn’t know each other and even if they had, I don’t think they would have thought of a painted portrait. However shortly after, they met and married, and are still joyfully and happily married.
So my idea was to paint a joint portrait to celebrate that splendid day (and all the intervening years) by putting the two together. There are some concerns – the photos are not the same scale, and I needed to find a way of stitching the two photos together. I have chosen a conventional pose. As they are both facing the same way it seemed the best answer, and he really is taller than her even allowing for the bouffant hairdo!
I then marked a vertical line for the centre of each face about 10 inches long and drew the outline of the head and shoulders, so as to equalise the scale, in using sepia paint and a small thin brush. A quick scrub of dilute paint marked in the main shadows – I’m using the lighting on her photo as his is pretty washed out – and I think I have made a good start .
It was this cheerful Lady who made me want to try portrait painting again. She has such a wonderful smile. Her neck scarf is light and diaphanous, her head scarf is brightly coloured and patterned and the light on her face so attractive that she cried out for me to make the attempt.
I use pastels for portraits quite often. It’s something to do with the immediacy of pastel painting, no brush, no water, no oil, between you and the tone in your hand and on the paper. With that immediacy comes an intimacy between you and your subject unbroken by the need mix colour. If, as I do, you collect the pastels you use on a separate tray, then your tonal range is to hand. It makes life so much easier!
I began by lightly drawing the layout with a pastel pencil so that I knew I had the proportions correctly placed, then drifted in the darks. Her eyes are quite deep-set, as are the smile lines round her mouth. The shadow under her chin, the result of top lighting, defined the face beautifully. A quick splash of colour on the scarves set the colour balance. Even that much painting brought her face alive – to the extent that I was reluctant to proceed.
Fortunately, when I looked at her the next day, she drew me in, so I worked on the midtones of her face, softening the contours, trying to tease out the smile. The eyes have it, though, for if they don’t smile, no amount of “grin” will help. I have a tendency to overwork eyes in a concentrated effort to get them “right” so I made a conscious decision to do as little as necessary and am happy with the result. A mouth with teeth is another trap for the unwary, but this isn’t the first grin I have painted. The trick is to paint it in patches of colour and tone so that it appears, rather than drawing “a mouth” and “teeth” as if they were separate from the rest of the face.
The highlights on her cheeks, chin and brow were quickly completed. Then there was only the finishing off to do, the light on her bottom lip, the tip of her nose, and the bag strap, stronger colouring on the neck scarf, and patterning on the headscarf.
I hope Maria would show the same happy smile if she saw her portrait.
I gave up New Year Resolutions years ago, but I am making a new one this year. I am going to get to grips with my poor drawing skills by doing at least one short drawing every day without using a rubber. I’ve failed already because I didn’t do one on January 1st, but I am going to keep trying! However, I do have other plans and these photos represent my ambitions.
The rose in the centre will make a beautiful watercolour and will help me overcome my inhibitions about painting flowers; I achieved my second acceptable effort in June last year which you can see in my second blog post, so this isn’t something I am hurrying! The garden photos are also destined to be watercolour – it’s good to think of Summer in January here in the UK. Two portraits – actually they will make one painting as they a photos of my friends when young, before they met and married, so this is something of a nostalgic enterprise.
Then there are other directions I wish to explore. I ventured into mixed media last year, not very far in, but enough to see that its not a doubtful means of attaining a result, but a means of expression in its own right. One of my students has produced beautiful pictures following the guidance of this book, so much so that I have bought my own copy to study before attempting something of my own. I like the way the image appears as if rising from the paper itself, a bit like sculptures are said to the in the stone waiting to be freed.
This painting has been on our walls for years – the photo doesn’t do it justice at all. I spend many passing moments wondering how the artist used his paint to such silky effect. The surface is very smooth, the details are precise, the control is awe-inspiring. Finally, I have one or two ideas, and am looking forward to creating my own silky paintings.
I must not forget my Meander book which is needing seven small masterpieces for its tiny pockets. Painting small is another of my bugbears. Happy 2017!
PS Just received my “Paint” magazine from SAA – and they are running a drawing Challenge this year. how Serendipitous is that!