What do I want from a sketchbook ?

As a watercolourist my main concern is the quality of the paper. For my purposes, it should not be too thin and it should not cockle when water is applied to it. Neither should it bleed through to the other side. In short, I am looking for a reasonable watercolour paper rather than a cartridge paper.

The sketchbook should also be of a manageable size. If it is never likely to leave the studio then size doesn't matter, but for a sketchbook which is to be taken on location however near or far afield, it must not be too heavy or bulky and ideally should easily be held in one hand when in use. As I tend to paint standing up and there is not always a convenient wall to rest the book on, I want to be assured it will not droop at the edges when I am trying to apply a wash.

If such a sketchbook existed it would be a bonus if it looked good - after all,  it will be a faithful companion for some time, and a friend for ever.

So imagine my delight when I discovered the Stillman & Birn softback sketchbook in their "Beta" series.It has exactly what I long for, the cold press/NOT paper being 270gsm which makes it substantial enough to prevent drooping, and the binding makes it capable of laying flat enabling a free flow of paint over a double page spread if desired.

An extra bonus for me is that there is no compromise in the amount of paper. The sketchbook has 52 pages and its rounded corners makes it easy to fit into a small sketching bag without it becoming bent or creased. My favourite size for taking out and about is 5.5 x 8.5 inches.

If you have not yet discovered the Stillman & Birn range they produce a variety of sizes, weights of paper, textures and even colour. Enough for whatever style of sketching you enjoy.

In Britain, they are available from Jackson's Art supplies or you can go onto www.stillmanandbirn.com

Next, I'm going to try out the spiral-bound version...

Morning meadow.

Morning meadow late June

7 x 10" watercolour

One of my favourite subjects to paint. Along the meadows there are always a number of views to paint at any time of the year. No two days are ever quite the same.

Shortly after painting this, the clouds increased and we lost the sun. Just shows you have to grab the moment. Tomorrow is another day, as they say, and there is bound to be something just as exciting to try and capture in paint. The hardest part is deciding where to start!

Storm Doris

Storm Doris passed this way today. Wet, as one might expect, and very blustery. Not exactly ideal weather for an easel. Hard enough for someone on two legs to remain upright despite a full shoulder bag which normally keeps one anchored.

I have been here many times before. Dog owners walk their canine friends along this route every day. I walk my sketchbook the same way, sometimes a block of paper which is gummed so it doesn't blow away. I usually keep loose paper and easels until later in the year.

Today the dogs seem keyed up, excitable, yapping and barking for the sheer pleasure of being able to, full of expectation of something different about to happen.

The dog-walkers are not so boisterous. Dressed in creative collections of assorted clothing, they concentrate on remaining upright and continuing on a more or less straight line without being blown too far off course.

Being so familiar with the scene (the buildings change little over time, it is the pattern of light across them which holds interest), I know I will be able to draw the main features later from previous sketches and memory. It is the fast-moving clouds skidding across the sky which fascinate. A whole range of tones and colour, there one moment, gone the next as Doris hurries on her way, faster than a pencil can scribble across a page, swifter than a brush can deposit water and pigment.

The answer is, I believe, memory, editing, and a healthy dose of trying to capture the FEEL of the moment and to hold onto it long enough to attempt to express it on paper or canvas as soon as possible, before the memory fades.

Luckily, I live only a few moments away.

Happy New Year

                                                                Little Brown Tea pot


At this time of the year it is traditional to take stock of the year just gone and make plans for the year ahead, catch up on all those things which have been pushed to one side to do 'later' and, in my case, try and stock up on art materials.

Although it has been cold recently, it has not been soooo cold as to make it impossible to paint outdoors, even with watercolour. There is a certain beauty in the winter landscape and the recent frosts have turned the fields and hedgerows into a land of crystal enchantment as if from a fairy tale.

However, if you live in part of the world where winter really means FROZEN, then perhaps January should be dedicated to the art of Still Life. Even traditional subject matter can be inspiring if you are willing to experiment with composition, change the size or format of your usual paper or canvas, and play with colours not usually to be found on your palette. It's all about being creative. We are always learning, and this seems to be the ideal time of year to play with our materials and see where it leads us.

Some of my New Year resolutions;

- Travel further afield for plein air painting and sketching.
- Push boundaries more - don't just stick with what I know I can do.
-Make better use of my sketchbooks.

Oh, and
- Try to update this blog on a more regular basis than of late. Who knows? I might even make it through to February !

HAPPY PAINTING

Museum Sketching

Yesterday I went to the Oxfordshire Museum in Woodstock as part of the West Ox Arts drawing day.
Working in museums requires different skills to those more normally employed. It is not practicable to set up an easel in a small gallery where other members of the public are wandering in and out and where in some cases small children are running around. Museums too are wary of paint being splattered over their exhibits !

Instead I figured this was an occasion which required a sketchbook, pencil, fibre-tipped pens and, with a little subterfuge, a miniature palette and a waterbrush. With practice it is possible to hold most of these things in one hand while drawing with the other, standing in front of the glass cabinets.

On the spot, I concentrated on sketching various exhibits, memorising any unusual details and colours which could be added later if it wasn't possible to complete it there and then.

The page could be given unity by the addition of a border and some annotation. In this case I kept the handwritten notes to the barest minimum and placed them where I thought they would look most interesting. Another time I might give the placement of the drawing more consideration if I know there will be a larger area of writing so that the two will work in harmony as part of the overall design.

Most important of all is to remember that an experience such as this should be enjoyable ! You don't have to go to a museum to try it, why not do something similar with your favourite objects at home ?

The Newsagents

The Newsagents

Watercolour

7 x 11 inches

Just because it's December and a bit too wet and blowy to stand outdoors and paint with watercolours, doesn't mean you can't do anything.

Rain can be a little bit too much of a good thing for a watercolour unless you have some cover and the danger is you end up with all the paint on the floor and nothing on the paper.

Sitting in a vehicle is a good option. You soon get used to the cramp, and anyway it's the painting that matters, but it's a good idea to keep it small. If you really find it too uncomfortable then make a number of pen or pencil sketches in a sketchbook adding in some idea of the tonal values, and even writing notes about the view in front of you and how you feel about it.. A back up photo can be useful.

The figures in 'The Newsagents' weren't actually all there at the same time, but jotted down on a sketchbook page and placed where I hoped they would help to tell the story. All the information was then gathered together and painted at home.

Grey days can be as interesting to paint as any other weather conditions.

Last of the lavender

 

Last of the lavender

watercolour on paper

 

This will be the last field of lavender to be harvested and distilled from this year's growth at the Cotswold Lavender farm and yesterday was the perfect day to see it.

Sweet lavender

 

Sweet lavender

watercolour on paper

 

Early morning, overcast, but I wanted to try and find a view with some lavender. Painted this from the roadside looking slightly down towards the road leading to the farm.

Where the poppies are

 

Where the poppies are

watercolour on paper

14.25 x 10.25 inches

(20 x 16 inches mounted)

 

One of the paintings inspired by my recent sketch. This is a wonderful area for poppies with fields and fields of them swathing the landscape with their scarlet glow.

April 15

 

April 15

 

Ice-cream weather continues...

Whatever your age, ice-cream remains a firm favourite and adds to the holiday atmosphere

(but shouldn't they be back in school by now?) I like the large advertising cornet.

April 13

April 13

 

Geraniums

This Geranium was bought as a small pot-plant as a project for a class many years ago and was later consigned to the kitchen window with numerous other plants which ended their days there through shameful neglect on my part. This plant refuses to stop flowering however and now lives happily on its third kitchen window sill and is a cherished member of the family..

April 12

 

April 12

 

On a very windy walk around the lakes we found this old boat and managed to do this quick sketch without being blown away. It will remind me I want to go back and do a more completed version another day.

Survivor

 

Survivor

watercolour on paper

7.75 x 5.75 inches

(12 x 10 inches mounted)

 

After a windy few days I came across an as yet unexplored footpath at the other end of the village and discovered some wonderful trees among other things. This one looked as though it had a tough time over winter but it's still hanging in there.