Hat trick
I’ve been talking to some of my art friends about going to a life drawing session and they made some very good recommendations about using materials I’m familiar with. Usually I draw with either ink or watercolor, unless I’m doing something digital. But neither of those seems well suited to a life drawing class. I think that graphite or charcoal would be best, until I can get around to using paint, but that may take some practice. So I’m going to do some exploring with different media before I attend that first session. I rather like the look and feel of toned paper – it seems a bit easier to create dimension than building it all up with the graphite. I’d really love to do drawings with brush pen, and I guess there’s no reason I couldn’t bring a few different things to try.
Earlier today I saw a neat pencil drawing on toned paper, and I had some “bogus rough sketch” paper on hand to experiment with. I drew this using a 4B water soluble Derwent pencil (then I added some water to slosh it around a bit) and finished up with Prismacolor white pencil and some 4B Derwent graphite pencil. I think I’ll try some figures, too, just to see how it goes. I recall seeing some fantastic figure drawing on toned paper in Drawing magazine … around here somewhere … hmmm …
Oh and UCLA beat Alabama, onward to the Sweet Sixteen. Go Bruins.
Sketchcrawl Downtown #3 – Olvera Street
Click picture to enlarge
Here’s the third and last of my drawings I did last week on the sketchcrawl in downtown LA, and another response to the “draw a local landmark” challenge. With limited time for drawing I opted to spend the time drawing rather than doing washes or painting on location. Today I took some time to figure out how I wanted to handle those washes. As an experiment, I printed out the line drawing on watercolor paper rather than use the flimsier paper in my sketchbook. That also gave me a backup in case my ideas didn’t work – I could just toss the printed version out and print another one. In fact, I might paint one using bright colors instead of this monochrome/sepia scheme which is primarily based on tonal values.
Unlike the Union Station fountain painting, in this experiment I decided I would draw it as it actually was, because I liked the angle and the bustling activity following the morning’s rain. Also, unlike the courtyard painting, I opted for Rapidoliner and wash because I wanted to draw the small details of the shops instead of suggesting dabs of color with the brush. I did take a picture before I left, so I might still try an impressionistic watercolor sketch for comparison. Below is the drawing before painting, if you’re curious. Click to enlarge.
Another sketchcrawl page
My workbook is evolving, and so am I. Sometimes the mood strikes me to do compositional and value sketches; other times I might be captivated by the texture of a rock, carefully observing the nature of reflections. On Saturday, while hiding out from the sprinkling of rain under the teahouse roof, I settled in to do a long, slow drawing of a California Live Oak. The biggest challenge was trying to describe the volume of the limbs when the light kept changing (like the camellia painting I posted two days ago.) Still, it was a satisfying sketching session and I felt like I got to know this tree a little better.
Too big to fit under my scanner, this 9 x 12 Watson Guptill sketchbook is a good size for trees and big objects.
Camellias Sketchcrawl style
Saturday, four hardy artists braved the cold temperatures and sallied forth to Descanso Gardens for a sketchcrawl. Because it was sprinkling, our first stop was the Japanese teahouse with its sheltering roof, which protected us from the morning drizzle. We sketched there for an hour or more and then, seeing that the sun was peeking occasionally through the clouds, we ventured out into another part of the garden.
I stopped at a camellia bush where I painted this cluster for a little while. I used a page in my Canson watercolor journal that I had previously started at the Chinatown parade, then rapidly gave up on. (Digression warning) The only scribble on said page was a stiltwalker in drag wearing a slinky Chinese dress. Think “Al” from ToolTime (the flannel-shirted, bearded one) wearing a dress from The World of Suzie Wong, only imagine him 10 feet tall. Got the picture? There simply wasn’t time to capture him/her in all his/her glory, so I gave up somewhere between the mandarin collar and the flash of beefy thigh. However, being of a frugal nature, I painted over the page with a few coats of Liquitex acryllic gesso (white) figuring I’d do something else in that space.
The else moment arrived on Saturday. I painted these using my portable w/c palette (which I have since misplaced, unfortunately.) The first challenge was trying to figure out the values of the colors when the light conditions went from full sun to dark stormy clouds, minute by minute. The next challenge was painting directly without doing any drawing or sketching underneath. Usually shadows provide positive and negative spaces to get ones bearings with. But everytime the sun went away the image “flattened out” and the shadows disappeared.
The final challenge involved the medium itself. The watercolor flowed smoothly over the gessoed surface and was surprisingly malleable until it dried. I’m guessing that the gesso prevented it from sinking into the paper, so the pigment was simply a dry layer on the surface. When raindrops started falling, it created dissolved water drop marks. Before I panicked, I realized that it looked somewhat like raindrops clinging to the petals. Hmmm. An accident becomes a technique. “Why yes, um, er, I did plan it exactly that way, timing my painting so the waterdrops would fall just so at the appropriate moment.” Sorry, Karen, not very convincing. At any rate, I stopped painting before the droplets turned the whole thing into a runny splotchy mess.
I had a nice moment when some camellia watchers came by and asked if they could see what I was doing, which I happily shared with them.
So that’s my sketchcrawl story. I am now in pursuit of the missing palette which I surmise may be proof positive of poltergeist activity in my house. When I find it, I suspect a lost shaker of salt will be nearby. Wasted away again in Watercolorville.
Sketches are made by fools like me
It’s startling to me at times how I can get so caught up in what I’m doing and ignore the obvious.
Today I spent some time at Descanso Gardens with my husband, enjoying the beauty of a spring (Valentine’s) day, and I took my time doing a very detailed line drawing of a magnolia twig. As I peered at it intently, something “clicked” and I realized one of the purposes of botanical drawing. When you observe something very closely – and I mean down to the 1/16 of an inch closely, you start to understand what the plant does. You begin to sense which way the twig will bend even before it does. You know where the leaf will come out of an axil, and what side it will be on. You begin to think, perhaps a little bit, like a plant. OK, that’s too new age, scratch that. You know what I mean. You begin to understand the plant intimately, becoming lost in its anatomy, its function and its beauty.
So, as I was fixated on this small twig, working slowly and methodically, I lost sight of the larger plant patterns that shared the same white space: the bare winter bones of the magnolia overhead, the tumescent buds, the rhythm of line and shape, the lost and found edges, the positive and negative spaces. While I was trying to capture nature with my pencil, Nature was impishy doing her own dance with effortless grace, as though to taunt me. But perhaps to lead me on, to keep practicing and to keep looking. I bow to you, Madame Magnolia. You win. Sketches are made by fools like me, but only God can use light to paint a tree.
My artworkbooks
As you can see, I use my journals for a lot of different purposes, not only for sketching pleasure. As I’ve committed myself to doing more painting this year, I find that I’m reaching for it more and more as a practical workbook, not a chronological diary of my days. In fact, I have numerous workbooks with different paper in different sizes. I keep notes of ideas for paintings, I try out color mixtures. I paste in swatches of different kinds of paper and practice different drawing techniques. I work out designs for soft block carving. I carry it with me to museums and make notes about the artists. I even print out and paste in my sketches and paintings done in Photoshop or Painter.
This is my portable personal encyclopedia free of rules and concern about outcomes. The disastrous pages are as valuable as the “good” ones but none of them gets torn out and thrown away. It’s not an artists book destined to look pretty on its own. It’s a workbook – raw, spontaneous and full of scribbles and wrong turns. It’s where I map my “Creative Journey.”
Do you keep an art workbook for experiments and testing paint and such? Write and tell me about it.
karen@karenwinters.com
Chinese New Year 2006 – Part 2
Lions dance through fields of firecracker debris. Surely good fortune will follow.
Brush pen in my Moleskine … memories of the Chinese New Year parade.
Gung Hay Fat Choy
Ripley wishes you a Happy (Chinese lunar) New Year, it’s the year of the dog.
Which is pretty much every year, around here.
My friend Armand Frasco asked me if I might be doing a drawing in my Moleskine for the annual event and I told him that I most likely would. So if you haven’t been over to Moleskinerie today, you should take a look at his China links.
Drawing details:
This was drawn and painted in my Cahier-sized Moleskine, which I mentioned a few days ago. So this drawing is actually 15″ x 10″. I used watercolor Tombow markers for the details on the dragon to save the time of using a small brush. Ripley was painted using my regular tube paints, plus some colored pencils. I added the banners after the dragons using my brush pen, but then looked at it and realized that white banners looked rather bland. At that point there was no choice but to add the color in Photoshop after scanning, or I would have smeared the ink.
Ripley in my new cahier Moleskine
This afternoon Ripley was sleeping so soundly on the floor of my office that I thought I could probably get a quick drawing of her done before she stirred. She did move her paws around but thankfully kept her head steady most of the time.
This was drawn with the water soluble Kuretake brush pen, which is a most unforgiving and hair-pulling instrument. Still, I like the way I can go from a thick to a thin line without changing pens and breaking the mood.
This was drawn in my new Cahier model Moleskine, which my husband gave me for Christmas. The paper is thin like the basic Moleskine journal, but it is much larger, which allows freer expression. I was hesitant to use juicy watercolor on the paper so I added the background with some Tombow pens, and swished a little water over the top. There’s something about a cream colored dog on a cream colored background that just looks a little vanilla, you know? If I had been thinking I could have painted the background with an acrylic, which would have been less splotchy. Ah well.
The shadows are created by gently softening the black ink line with a Niji waterbrush filled with clear water.
More sketchcrawling
Saturday night, after an afternoon at Descanso Gardens we had a quick sushi stop (yesterday’s scan), had a latte at Starbucks and went to see Memoirs of a Geisha. These are some of the people I saw along the way.
I thoroughly enjoyed the movie, by the way. I had read the book earlier this year and although much detail had to be left out, it was essentially the way I visualized it. In fact, the author was so descriptive in his prose, and the director so faithful to the book that the scenes were exactly as I had “seen” them when I was reading.
