Pen and ink challenge

Last week I challenged myself to complete a small (a bit smaller than A4) pen and ink drawing based on one of my own photographs.  Usually a pen and ink drawing takes me months to complete, but I challenged myself to complete my drawing in less than a week for a number of reasons, not least a recent disapointment (I had 2 of the watercolours I had been working on rejected for an open exhibition which I have exhibited at for more than 15 years).  As I have mostly exhibited pen and ink drawings at this exhibition in the past, I decided to motivate myself to complete a new pen and ink drawing but to give my return a twist by attempting to complete it in what is for me, the blinking of an eye.

I posted my challenge on Facebook and Twitter and completed my drawing in about 2 days, with an extra day for tweeking. 

I called my drawing 'Beside the Lake.'

After a weekend away (Happy Easter!!) I have decided to challenge myself again.

Another pen and ink drawing.  A little bigger than Beside The Lake this time. 

I have already begun a watercolour of this subject, which I've had hanging around in my 'in progress' pile for several months, this in progress watercolour is slightly different to my pen and ink drawing as it contains a couple of figures which I drew from memory. 

The pen and ink drawing is based solely on a photograph which I took last February while I waited for my train to work.

I used a zoom on my point and shoot digital camera to crop the image I was interested in.  A bit of grafitti on an old wall with some wintry trees behind and hints of houses seen through the trees.

I am using Acrylic Ink and dip pens.  

I penciled in a quick sketch of my design based on my photograph.

And then I began to work on my drawing using dip pens and Acrylic Inks.  I'm using sepia and black for this design.

I might use one coloured pencil in addition to the pen and ink.  But I'll think more about that as I progress.

This is about 2 and something or other hours work. 

Hopefully I will do some more this evening and a little tomorow morning.  I'll post tomorow's progress on Facebook and Twitter. 

Memories of Skipness

In June I had a lovely holiday in Skipness.  Although the weather wasn't exactly perfection, Skipness is a special place and G and myself were very lucky to spend our week in a lovely cottage overlooking the isle of Arran.  We visited Arran by car and Gigha on foot that week, but the memory which stays with me most vividly is the drive to Skipness via a beautiful long and windy wyndy single track road.

I took a few photographs as G drove and have made a quick watercolour based on one of them.

Here are a couple of stages of a pen and watercolour painting I've made based on a photograph I took of Skipness bus stop.  G & I sat on one of the picnic tables you can see in the distance.  We managed to sit there a few minutes before being chased away by midges.

I've begun another watercolour of this same scene, sketched in with graphite pencil and coloured pencil this time.  I'm not using watercolour pencil but Derwent's Coloursoft pencil, just 2 colours for the line as I don't want the lines to melt too much into the watercolour.

I'm working with real fear on these pieces, I'm quite pleased with the single track lane piece, but I'm terrified to work on it any more in case I ruin it.  I've worked quite a lot on the Skipness Bus Stop watercolour, maybe too long.  Resisting the temptation to work on when I should be leaving alone is one thing I need to work on.  As is resisting the temptation to continue working when my mind and body have slipped into autopilot. 

Autopilot is disaster, in art as well as so many other areas.

Summer Progress

Here are a few new pieces I've been working on over summer.

I wanted to continue introducing colour into my work, and also to build compositions which include some imaginative element and possibly some people in them.  I'm really inspired by art of the past here, and for 3 years or so since I visited a wonderful exhibition of Gainsborough landscapes at Compton Verney, I've been haunted, sometimes possessed, by the atmosphere of quietude and dusk in his landscape work.

I've been struggling with using this sense of wonder into my own work, and also to work at least partially from life, as most of my work until now has been made from photographs.

I've taken my tiny Moleskin or Derwent sketchbooks to work with me and drawn as and when I can, mainly while waiting for my train to and from work, or during my lunchbreak sitting in the sunshine listening to the radio (the Ashes have been a big part of my summer, as they have been in many summers over the past 10 years).

 From these sketches I have worked up a few pieces.  The first were tiny pieces which I made directly from my sketches.  In watercolour, pen and acrylic ink.  Here are a couple of these, sketches and the pieces made from the sketches. 

Wolverhampton Adult Education College

Sketchbook 11.7.13

Wolverhampton Adult Education College 

Drawing made from sketchbook July 2015

 

Wolverhampton Adult Education College 

Photocopy of drawing draw over and coloured with acrylic ink

Commuter Sketch July 2015

Commuter Watercolor Drawing made from sketch July 2015

But I really wanted to emulate the great art that I love.  I know it's not trendy, but I have to be honest.  Looking at a Gainsborough landscape, a Samuel Palmer, a Turner, a Caspar David Friedrich, fills me with such emotion that I really feel that now, life is too swift and too short to deny any longer that these are the artists I wish to emulate in my tiny way.  I'm not post modern, I don't get anything at all from a great deal of contemporary 'fine art', it just leaves me feeling like I've read a magazine and dumped it in the recycle bin.  I don't feel stained by it, coloured by it, altered by this art in any way. That is not to say that I denigrate it or disagree with it, but that I just does not touch me deeply.

 Surprised 

Pencil on Paper

Surprised

Watercolour (work in progress)

FOLLOWING A LINE

Until last year I worked mostly in dip pen and ink from my own photographs in a very plush, intense style.  The more intense the more I liked it.  These pieces took so long to do, plus I felt that I should be working more from life, so with these 2 combined aims in mind I spent a lot of last summer working directly from life in my garden drawing the flowers (mostly sunflowers) I had grown from seed or young plants from garden centres.

I have continued this practice and now it's more my instinct to see pattern and line and to follow the impulse of a line more than delve deeply into the textural rendering of a piece.

I did say at the end of last year that I would not buy as many plants or seeds as last year as growing them, protecting them, standing them back up after a gale force wind had knocked them over, was so time consuming.

But then instinct again has taken me by the nose and here are this year's fresh crop of nasturtium, which I have grown from seed (a new one for me)...

...and sweet peas and a carrier bag from Wilko (where I bought the seeds).

Inspired by the recent trend for adult colouring books I have toyed with the idea of producing a few images to colour in myself.  I have produced a few of these, but I've not done anything commercial with them yet.  I did have a play with a Ginkgo leaf yesterday, drawing it repeatedly and thinking how to arrange the shape imaginatively on the page.

The Ginkgo leaf fell out of a book where I'd pressed it.  I can't remember where I picked it up from.  If ever I read that there's a Ginkgo tree in a garden I have to find it.  I love the delicate, fluttering leaves of the Ginko tree.

PLEIN AIR ACEOS

It's been lovely to get out into the garden and make a few studies again.  I haven't drawn in the garden from life since last October, the sun was really warm yesterday, it felt like summer was on its way at last.

I've made studies of Mom's old stone cast animals and gnomes over the years, some of them are a little worse for wear, the tortoise above has lost its head but it's still recognisably a tortoise.

This time I'm disciplining myself to producing mainly ACEO sized studies, some I colour indoors after making the line drawing outside, but the 2 little ACEOs above are completed entirely plein air.

ACEO sized drawings

Four of the ACEOs I've sold through Ebay, where I'm selling small sized artworks via Itsypics.

The ACEOs are shown with their Certificates of Authenticity, which I provide for each piece.  The matchstick symbol on the front of the COA is a Logo I designed for my Itsypics sales, an 'i' for Itsypics.  The flame stands for the spark of inspiration which I am eternally hopeful of.

A mixed media piece I've been working on (and off) since before Christmas.  It's pen and acrylic ink with airbrushed acrylic ink for the larger coloured areas.  A combination I still haven't got right yet.

I like the discipline of the ACEO size (3 1/2 x 2 1/2in) so much that I've begun to make a few ACEO sized drawings around the house.  It's been too long since I drew from life, so this will bring 2 aspects of my work together hopefully.  I intend to make a series of these drawings in every room of my home over the next few months and display them together as a complete piece.

The drawing above shows my Mum's slippers where she leaves them in the hall.

The drawing below shows Mum's tatty old shoes stuffed with wool and old Jay cloths, left again as she always leaves them, in the hall by the kitchen door.

Mom leaves things habitually anywhere and everywhere.  She stuffs her shoes with wool because she says it makes them more comfortable.

RBSA OPEN ALL MEDIA

I'm really happy to have 2 pictures accepted for the RBSA Open All Media exhibition.

G and me went along to see the exhibition on Sunday.  It's a good exhibition as usual full of varied styles and subject matter.  There were quite a few collages, many using photographic material, and a nice selection of abstract work.  There was a huge pastel study of a lady in a bath by Graham Kershaw, larger than life size I would guess.  A very audacious piece beautifully rendered.  There were quite a few pastel pieces at this year's open and one of my favourites were a couple of landscapes by Janette Summerfield which I really liked.  Artists who's work I'm familiar with from previous shows and who's work I also really enjoyed were June Dudleston's painterly landscapes and Paul Hipkiss's vivid linocuts.  I also enjoyed Rob Perry's intense painterly landscapes. 

On handing in day the queue was longer than I'd ever known it before, so I'd guess that the RBSA had quite a few entries this year.  The lady I was queuing behind showed me the piece she was handing in, a pretty cream coloured ceramic vase inspired by sea froth.  Her piece made it into the exhibition too, Sea-Foam Vase by Katie Robbins.

This Dwarf Iris is one of my ACEOs which I am currently selling on Ebay.