Good morning 2018

Good morning all!

There’s been a big sleep on this blog as i’ve been settling into my new location. The house is done and the sun is coming out and things are starting to get more exciting around here!

During my quiet time I’ve been thinking about what it is that causes me to keep coming back to art. I realise that alot of what drives my curiousity and creative practice is the experimenting and finding new techniques and tools to play with. I want to see how differnet people use the same tools for the same problem and create very different solutions. It’s fascinating!

I don’t chase after big exhibitions as a rule, when i’m thinking of doing my personal artwork, as they are not my end goal. It’s the discovery aspect of playing and experiencing new solutions to age old problems that I enjoy. Plus, with the new technology coming through, its making art appear more and more like magic!

I have been getting out drawing again and I have taken to using watercolours on location. You can see some of my work here.

As a focus, I am using Carlisle Cathedral as my subject to practice on. Everyday it has a different atmosphere and so many small details that i’m finding it very interesting. Listening to the bells, this daily practice has become like my own prayer, to centre myself and get back to me. I’m looking forward to seeing the results of this practice.

Colour play – Winsor and Newton designer gouache

Hi,
So as mentioned before, I get serious creative blocks ATM and end up procrastinating around them rather then trying to start a painting. HOWEVER! I have tried to make them useful for a future where I am painting more again and have been creating colour charts for my different paint sets. I currently have a selection of tubes and pans from the Winsor and Newton Cotman range, as well as the Winsor and Newton designer gouache set of 10 colours. I also have a 48 watercolour pan set from Sennelier which I needed to test out fully. It’s a beautiful set and I mainly went on colour instinct when I was choosing my colours from it, which seems like quite a waste. To better plan my paintings I wanted to have a good overview of how the colours mixed with each other and doing a full colour chart looked like the best way to do this.

I am halfway through the watercolour charts but I have finished the gouache one which I’m posting here ( mistakes and all!)
I really like this set as you get such a vibrant range of colours but can easily tone them down. I used this set for my first attempts at plein air painting in 2016 and again at Gelts woods ( which you can see here. They were good as gouache can easily be layered and highlights can be added in later, which eased some of my nerves and allowed me to just have fun with sloshing paint around!)


Winsor and Newton designer gouache colour palette

Within this set you get

  • Zinc white
  • Primary yellow
  • Permanent yellow deep
  • Yellow ochre
  • Spectrum red
  • Primary red
  • Permanent green middle
  • Primary blue
  • Ultramarine
  • Ivory black

The primary colours they developed mixed nicely with each other greeting these beautiful clean colours. I have tried all the other combinations yet but you can see that mixing Ultramarine with primary red still makes a strong clean violet. You can create some nice olive greens with ivory black and primary yellow or Ultramarine blue. Mixing all the colours with the zinc white produces some lovely pastel colours as well. Using these on coloured paper would look beautiful.
I have also used this set to create a gift box for my niece and the colours painted beautifully onto a hobby craft cardboard gift box and dried nicely. As you can see, she’s rather fond of the trolls movie and anything colourful so these paints were perfect!

Preparing to go charcoal location sketching

I'm preparing to go into the Lake District again and try sketching with charcoal instead of watercolours. Limiting myself to just figuring out composition and tonal values will be good practice for me! The forecast is clouds, sunshine and rain so there should be some dramatic lighting for the day as the sun comes out and it's something the Lake District captures really nicely!
My main concern is that I rarely use charcoal as a medium and I tend to over to it and get muddy values as I try to building up textures…
So as it's the night before, I'm going to get some practice in and then just give it a go tomorrow. The worst case scenario is I don't like my pictures but it'll still be a good learning experience! Plus, messy techniques are always really satisfying!!

I used charcoal pencils, a range of rubbers and some blue pastel for these sketches. I also put a wash on a couple of pieces of cartridge paper and tried a few scenes on them which worked nice but I found it kill some of the highlights that would have made the pictures come alive.

Derwentwater plein air – First attempts

I've mentioned before that I recently moved to Cumbria in England. This has given my spirit an excellence burst of inspiration and energy and has allowed some of my creativity to come out. I'm still making lots of colour charts ( I'll show you my most recent one in another post shortly!) but I'm also getting outdoors while the weather permits and doing some sketching with watercolours.
I visited Derwentwater recently ( home to the Derwent sketching pencils, I did visit the museum and their shop but I didn't buy more pencils…I have to use the ones I've got already before I allow myself to buy even more!) and here are some of the sketches I managed on the day. I'm really pleased with the day's outcome and felt that I've taken a solid step forward to where I want to be as an artist with this.


This is the palette I put together for my outing

  • Lemon yellow
  • Cadmium yellow
  • Yellow ochre
  • Burnt sienna
  • Van Dyke Brown
  • French Ultramarine
  • Cerulean
  • Quinacridone magenta
  • Cadmium red
  • Sap green
  • Hookers green light
  • Payne grey
  • Ivory black

I felt that I mainly ended up using lemon yellow and yellow ochre mixed with all the combinations of the blues and greens to figure out the greens. Payne grey was my favourite for the clouds and water with cerulean for the sky. Having the readymade brown was handy to have, since I was using a very small mixing tray. I tested the colbalt turquoise but felt that cerulean and the Ultramarine were enough of a range for the palette

This is the colour range that I got from the set, I wanted a big range of greens from earthy to lush but not too many blue-greens as I know that I would mainly be trying to capture the forests and shrub land on the mountains. Very limited purples too which was fine as the heather isn't out yet. I also totally stopped round say greens name when I was labelling, oops!

On to the sketches! I warmed up with some pencil sketches before just sloshing paint about for the rest of the day.

I feel that I need more practice with my tonal values and compositions as I set up my sketches but I'm still really pleased with these ones and happy to share them with you all. If you've visited Derwentwater and did any sketches, post a like in the comments so I can see your stuff!

My current Watercolour Palette

This is my current watercolour palette cheatsheet that I tuck into my sketchbook as I go painting. One side is the pure watercolours, the others is white gouache mixed into the colours. It does dull the colours and give them a chalky look but it I want to add some opache highlights, I thought it could be useful.

I use the Winsor and Newton set of:

  • Lemon Yellow
  • Cadmium Yellow
  • Yellow Ochre
  • Intense Blue
  • Cadmium Red
  • Burnt Sienna
  • Burnt Umber
  • Viridian
  • Ultramarine
  • Green ( It’s stuck and I can’t get it out to see the label so I just label it green…)
  • Ivory Black

August 2017 Palette

Getting out there

Turns out that working with Charcoal on large pieces of paper makes a lot of mess, which can be frowned upon when living with others.

So, my experiments didn’t last long but it was still good get my hand moving again and once I have a studio space set up again, I will continue my experimental mark making. In the meantime I have been getting out for walks in the Lake District and Northumberland.

I have included just a few sketches here. I mainly fell back to take photos as I explored new areas which was a lot quicker as I walked and gawped at things but didn’t help my practice that much. Plus my cameras pretty naff so the photos never do it justice.

Still I have managed a few blobby paintings as my first shaky steps back into things.

 

Gelts wood 13aug17

Rickerby Aug 2017

rickerby-notes-aug-2017.jpg

Deep breath. Drawing again.

As I breathe deeply, I can smell the clear Cumbrian air.

It’s been’s perhaps 6 months or even longer since I sat down to explore drawing. I have moved and feel inspired to try again to recapture my creative practice. I am going to work through ‘ Drawing space, form and expression’ by Wayne Enstice to get my hand moving again. There’s a lot of good grounding for the practice to take root in again and help grow my skills to where they used to be.

I will be documenting my experiments on this site under the appropriately titled page ‘Experiments’.

To begin, I will be exploring the basics of mark-making and the tensions they create within the picture frame. I’ll be using charcoal to begin with as it’s easy to vary the tone and texture, allowing me to freely play and explore.

I’m taking inspiration from the following artists:

Illustrators:

 

Ways of starting: Stop overthinking your art process

I’m currently struggling to begin my art process and to stay focused until the end, as you saw in my previous post here. My knee jerk reaction is to always get more information on the situation i’m having difficulties with, seeing if others have had the same experience and how they solved this. This does help in some respects but it can also allow me to procrastinate and not actually take action to resolve the situation.

It has however allowed me to gather a large amount of knowledge of different ways of stopping yourself from over thinking. When I was younger and enjoyed drawing and painting without self imposed restrictions and limits placed on what I was creating, I didn’t have art block as much. It was still there and I still overcomplicated my thought process, but my fear of starting was normally from not having a clue of how to do perspective or anatomy properly, not trying to combined 5 different half thought ideas as I go along creating.

The fear has since evolved into not even being able to paint basic layers, which sucks to be honest. Now, after doing my reading, I came across a very useful piece of text that looked at how dancers and writers tackle this problem. By allowing yourself not to have all the steps planned out ahead of time and simple respond to the marks you are making ( very similar to how I was working when I was younger) you build up your piece, one thought leads to another and another. If you’re familiar with the improv. technique of  asking ‘and then…’ after every action to lead your thoughts into the next choice, it’s very similar to that.

You can sit and stay in your head, theorising how you will create a piece all day and have only a blank piece of paper by the end. But if you theorise as you go, it stops the analysis paralysis from taking hold. The art work you create may not be what you had initially wanted to create, as when it evolves on the page many new options will occur that your brain had never considered. When you have a block, there can be a feeling of fear that comes with it, of not choosing the right option ( for me anyway) and failing to make it the best it could possibly be. This fear can come from lack of properly planning ahead of time and solidifying the idea you want to create before you start. If can also hinder you from giving yourself a starting point and allowing the image to develop organically as you create the marks ( I wrote a bit about my thoughts on  that process here).

So, now i’m trying this process: taking a deep breath to calm the thoughts and anxiety, writing a small list of bullet points of what my idea is, with specific details ( landscape with an oak tree in a field, 2 people, they’re talking, it’s cold, it’s late afternoon, overall feeling of friendship) to keep me on track. I draw a line under these notes before I begin sketching and if I have any furhter thoughts that spring up for my attention, I jot them down on a seperate piece of paper to come back to ONLY when I have covered my initial idea. This keeps me focused and stops my anxiety that I will forget a good idea. Below is my first trial with this idea and it certainly help with this sketch!


Let me know what you think to this idea and if it might help you too in the comments section!

Starting Running

It is a crisp cold day outside and i’ve delayered myself into a hoodie and running trousers to get out there and run. Everyone I pass has layers and wooly hats and gloves and i’m bizzarely happy that I look so different. I see the smiles that play on their faces, wondering that someones actually going running in the cold like this and I remember my own thoughts when I saw people doing what i’m planning, something along the lines of “I could never do that!”

I met up with my friend and we managed a simple run around the park. I want to share this with you readers, as I want to explore it in more detail; namely the ways how it helps other aspects of my life like the drawing and mindfulness i’m trying to cultivate into my routine.

I’ve read before that many runners go into a meditative state, where they’re only mindful of their run and their body. It’s just them and the road. It always reminded me of the artist, it’s just them and their canvas. Both have to focus their mind and energies into achieving something that takes skill, patience, and focus.

As we start to run and my lungs begin to feel uncomfortable, it feels the same as when I get to the first stage of drawing when i’m not sure what to do next. It’s an uncomfortable tight feeling for me and my instinct is to stop what i’m doing to releave it. When you’re running, your mind has to stay focused to keep yourself moving, to look at the bigger picture and see that this will pass, you will get to the next stage which becomes easier once you’re warmed up. Breath, move, don’t over think things. Breath some more. Keep your focus. Keep your running pattern going. Breath.

For me, the artists actions would be something like breath, relax your thoughts, step back and look, breath and close your eyes, breath and take a look, breath and make a mark, breath and carry that mark forward, breath and look again. For me it doesn’t have to be a flurry of movement and energy although that is fun as well if you’re not feeling stuck and inspiration is racing through you. Trying to stay focused and allow your minds instinct to have the room to direct your vision and marks is something i’m struggling with allowing myself at the moment. I will continue to try different techniques to help quieten my over-thinking when i’m creating. I’ll keep you all posted with how it goes!

Watercolour : Learning to be a beginner again

I want to share with you an experience that might be familiar to you if you’re just starting to painting or coming back to it. I like drawing and painting because of what creatives call ‘the zone’ where their attention is solely focused on what they’re creating, not the outside world. So this may not really be a typical meditation but I think it’s a close relation and it’s something I want much more of in my routine to help combat anxiety.

To help clear my thoughts and calm myself after a day of work I wanted to do a simple exercise that would relax me.

Painting negative shapes with watercolour by tracing a photo of leaves I took, with a cup of tea, some fruit and nut dairy milk and listening to the sounds of a thunderstorm as my background music.

By calming my breathing, I lit my favourite smelling candle and just allowed myself to be, trying not to think about what needed doing in the house or other work I could be doing, figuring out ways I could possible multitask to get the maximum efficiency from the moment. Giving myself permission for the next 2 hours to experience something I really enjoyed felt really liberating, like I was treating myself. It reminded me of the feeling I go when I visited a city with no plans other then to be and just taking in the sights around me.

It was a really nice feeling to have on a Thursday evening.
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So now it’s been about an hour and I’m feeling very frustrated. My brain won’t take each step slowly, so I keep messing up the watercolour washes as I rush to get it finished. I’m trying to have that feeling of satisfaction when it’s all completed and looks awesome before it’s been finished. Currently it just looks like random splotches on some paper and i can’t see where I need to go next with it. I haven’t used watercolour like this for about 2 months and normally it’s just simple washes over pencil. I used to do complicated pieces but it looks like I’m no longer at that level…

It’s uncomfortable to see where my skills currently are with watercolour, it’s not what I had planned for this evening to be about but I will still accept it. If I want to improve, I need to see where I’m currently standing to know what needs improving!

So, my times up, it’s Thursday so I need to get a decent amount of sleep before work tomorrow. Inorder to ease my frustration I have gotten my watercolour books out and found one that focuses on layering washes. Tomorrow night I will work through the beginning exercises. I will breath, calm down and allow myself to be a beginner again.