This is an interpretive / impressionist sketch. I may have adjusted the colors a bit much in Lightroom. I did this at 6:30 a.m., barely awake, and without any light except what broke through yonder window. Same with the scan. I’ll check it out later today, when I am at work or something. Interesting to see the white spots in the scan I cannot see in my gloomy room . . . .
Last night I was getting ready for bed and decided to just do a quick drawing of something – anything! – before hitting the hay. My camera caught my eye. Instead of being blue, it is really black, and the strap is black, and it was on a copy of something in black and white. Strong shadows, too, from a lamp on the desk. What the hell . . . just do it and then paint it. As I like the effects of lines – Sailor’s Carbon Ink in a fountain pen – I decided to just use primaries, and blue was the choice for the strap, red and blue (i.e. violet) for the strap, a green for the rest of it. I wanted to catch the shadows – the light and the dark – more than anything. And here we are, half asleep while doing it.
I have been playing with iron gall ink, in this case McCaffery’s. Iron gall ink is easy to make and is the traditional ink over the centuries. It is waterproof, but with age turns the sepia so often affiliated with old manuscripts and drawings. I was playing with my goose quill pen, and a steel nib pen as well, working on calligraphy, when I decided to try it in a sketchbook. Given how busy I was this weekend, this is all I could accomplish, but I will say that the ink held up beautifully as the watercolors were added after the drawing.
Today, my little Meetup group went to a local place, the trail by the Chumash Museum nearby my house. (The Chumash are a California tribe.) We were there for about an hour. I began with a pencil sketch, and then, color. We were settled in a small oak grove, with dark and light contrast about as contrasty as you can get. At the end of the hour, this is what I had painted, knowing full well I would look at it and work it a bit once home.
Once home, I looked at the painting. Still a need for contrast, and a bit more detail. More pen, more ink brush, more colors, and some warmth.
Overall, the one above came out okay, but if you look on the mid-right, to the left of the furthest trunk, there is a bit of an odd space, so I went in and worked it a bit with ink to try to mitigate it. I found it very distracting. Here is the final image below.
The area has a few more lines in it, a bit busier, but somehow more in keeping with similar areas of the painting.
I used Koi watercolor brushes and the following paints: Quinacridone Gold, Naples Yellow, Hansa Yellow Medium, Cerulean Blue, Cobalt Teal, Ultramarine Blue, Indanthrene Blue, Phthalo Green, and Burnt Sienna. I used a Stillman & Birn Beta Series 8×10 inch softcover notebook, and scanned the images using my trusty, not rusty, Epson V600. Ink is Carbon Ink, and an ink brush.
I have picked up watercolor on a serious level, along with drawing and sketching. I have neglected that side of myself for a long time, but have attempted to reconnect with that part of myself off and on. Truthfully, it has been more off than on, but when I do delve into painting, it is such a pleasure. Over the years, I have purchased video classes or viewed videos from a variety of people. Today, I sat down and went through some of my notebooks and watercolor pads, and decided to scan what I have done to see if there is anything of value.
One person I have admired and enjoyed for a long time is Charles Reid. I love his loose, wet, messiness in watercolor. It works. I have watched his videos and read his books, attempting to catch what he does – learning from the teacher by doing. I have had some success, but I still tend to overwork and create muddy colors.
Another artist I have learned from is Birgit O’Connor. Her approach is very different than Reid’s – not splashy, but controlled, thought out, and very disciplined. The results are completely different, but valuable in that self-discipline and forethought are necessary to achieve results. Reid’s discipline is from years of knowledge, such as how to paint negative spaces and create contrast. O’Connor uses masking in varying forms, such as with contact paper and frisket to help preserve white space and create texture.
From both Reid and O’Connor, I have learned a lot . . . but without daily practice, it all is forgotten. Besides needing to remember how to paint, how to manage color, I have also forgotten how to sketch. Craftsy classes have proven to be helpful, with ones from Shari Blaukopf, Mark Taro Holmes, David Brody, and Kateri Ewing. These classes range from urban sketching to an extensive, classical drawing class. Each of these has proved, and is proving, to be very valuable. Videos are some of the best learning tools when it comes to finding time to do and to learn. Books with encyclopedic samples on how to do things are also great, such as Claudia Nice’s books on ink, pen, and watercolor, as seen below.
On YouTube, I have subscribed to multiple channels. These range from using dip pens to lessons from extremely talented watercolorists and sketchers. Of late, I have been working on negative painting – painting around things, rather than directly painting things. This is in the hopes of learning to manage white space better.
It’s easy to use lines to compensate for a lack of contrast to define light areas in negative space. The flowers are rather disastrous, but a lesson on YouTube (sorry, I don’t recall the video the trees are from, but it was fantastic!) was very helpful. The key to that video was to paint from the foreground back, unlike in traditional watercolor, you paint from the sky down for the most part.
In addition to videos, books are an excellent resource. I have a lot of books. The ugly truth is that art books are damned attractive, but how many of them have I actually sat down with and gone through, step by step? Not many. In fact, none at all . . . until I came across a book by Jenna Rainey: Everyday Watercolor: Learn to Paint Watercolor in 30 Days. Rainey’s painting style is not what I see myself doing, but what I do like is the “daily” approach and the short, structured lessons. Thus far, I am up to Day 11, and have been really enjoying myself. I’ve let go that nasty inner critic that expects perfection out of the gate, and have been loosening up, and doing some things that I like.
More than anything, I am happy to see I am not lacking ability – only self-discipline to work on painting and drawing when I have time. Looking at what I have done is inspiring me to continue, despite frustrations and time. Nothing like a retrospective to see what and where I have been, what I am doing now, and looking forward to what I might yet do.
Ahhh. Frustration. Nothing like it to make you feel like crap! Or to push you past your comfort zone.
Comfort zone: Ink, watercolor washes.
Sort of comfort zone: pencil drawing.
Disaster! Warning! Alarm zone: Watercolors! We won’t even consider these at present.
There are times when a good book helps you out a lot. These are studies copied from a book by Claudia Nice. What is good about these kinds of studies is that there is detail, but not a desire to be so realistic you are going to scream, if super realism is not your thing. (It’s not mine.) Here, you will fine stippling and hatching, and cross-hatching. Each of these brings dimension and texture. Add some watercolor washes, and it can really make things pop out.
Sort of Comfort Zone
I think I mentioned in an earlier post that I have never really done any formal consideration of pencil drawing. To me it seems counter-intuitive to think about pencil drawings beyond pencil drawings of a casual quality, like the scribbles and doodles students turn in with their work. Rather, I looked at a drawing book from the library and had a deeper appreciation for the textures pencils can make. As with pen and ink, stippling and hatching are at work – but so are circles and lines in varying directions, along with lines which depict texture, such as the little hook-shaped lines at the very bottom.
Today, I filled up a palette with watercolor pigments. Now, I am slowly studying washes and wet-into-wet. I am also using a whole slough of pigments I have never used and dropping some of my old standbys. I am feeling like crap. But, perseverance. Onward.
Deciding to take the bull by the proverbial horns, I enrolled in a few of the online classes on Craftsy. I have used them for a number of other courses, such as sewing or photography, and really enjoy their format. Demonstrations which are practical, well presented, and make sense are worthwhile. Online streaming format, without limitation (once bought), is another advantage – you can watch, play, replay, go away, and revisit. I really like Craftsy for this one reason. So, I enrolled in a drawing class called See Better, Draw Better: Exercises for Beginners by Kateri Ewing, and a couple by Shari Blaukopf on Sketching with Pen and Ink – one for landscapes, and one for cityscapes.
I am alternating between the drawing class and the sketching landscape classes. I have my chrome book, pens, paper, ink, water, coffee, and watercolors, and who knows what else. I am using one notebook – it’s a standard sketchbook, so the paper is thin – and taking notes and playing with the exercises as we move along. I have also been doing some sketching while listening to an audiobook. The watercolor studies are essentially play – not serious – because I do things as Blaukopf moves along in her class. I want to see her class almost completely before I really do anything on watercolor paper, whereas the drawing class is easier to play and do some “serious” stuff as it moves along.
I’ve doodled with drawing throughout the years, but never really focused on drawing in the way Ewing presents it. She uses 3 pencils – 6H, 4B, and HB. She also explains the differences between willow and vine charcoal, which I never thought of. As well, she discusses hatching, cross-hatching, broken lines, stippling, and other techniques for texture. I never thought of drawing in the direction of the shape of an object. She has you begin with gestural drawings and them move onto the shading techniques and so on. I’m surprised at what I have been able to do – as you can see below!
From the gestural drawings, she moves into shape and shadow to give volume – light and dark.
And then, I’ve been sketching in between.
As I said, I am moving through the watercolor / pen / ink classes differently. I want to focus more on listening, and observing, and hoping that the drawing class will help with my ongoing issue of contrast and value and tone. The pencil pictures are helping a lot already, but the real key will be painting. Below are some sketches made from the landscape class and done on non-watercolor paper, just to show some of the stuff I’ve been playing with.
My problem is a lack of time. Work and life get in the way. Still, it’s wonderful to feel the focus of drawing and painting and thinking I just might, just might, be able to do something worthwhile!