Category Archives: painting

An artist in action

I thought I’d show you what I got up to on the ArtVanGo, Artists in Action stand at the Knitting & Stitching show last Saturday.

IMG_3454Seacoal, Cley clay, synthetic Indigo watercolour, graphite

The brief was to ‘do what you would be doing in your studio‘, and so as recently I have been continuing my exploration of how I can use pigments gathered from the landscape in my work, that’s what I did.

I started by grinding up red clay from the beach at Cley (I ground two batches of this: fine and coarse) and seacoal from Wells beach (fine) and then made watercolour paint with it by adding gum arabic and honey …. I made quite a lot.

IMG_3464Seacoal, Cley clay, graphite

With paint in hand I started painting on Khadi paper supplied by ArtVanGo, first small pieces and then longer ones.

IMG_3450Seacoal, Cley clay, synthetic Indigo watercolour, graphite

Each day, as I look out of the studio window, I see the creek slowly fill and then empty as   the tide comes in and goes out each day. The muddy marsh banks and creek bed are marked by the outgoing tide with hundreds of small ‘marsh rivers’ as the water drains off the banks into the channel. The soft mud is moulded and cut through as its surface changes twice daily. I am reminded of this quote by Ian Scott and Richard Worsley from their book, The Return of the Tide

‘This is a landscape in flux. Dunes creep. New channels cut the sandflats and slow, glassy tides spread thin smears of mud to build slick upon slick into new marsh.’

I am trying to evoke the marsh surface and the movement of water in these drawings.

IMG_3461Seacoal, Cley clay, synthetic Indigo watercolour, graphite

I use a lot of water and a lot of paint and let it mingle and move. The coarsely ground pigment separates out as it is swilled around in the water.

IMG_3459Seacoal, Cley clay, synthetic Indigo watercolour, graphite

Unfortunately I can’t make my own blue paint from local earths and rocks, so I have used a ready made indigo paint to add a contrast to the earth colours. A wax resist adds light and another texture.

IMG_3460Seacoal, Cley clay, graphite

My aim is to try and get the same diffuse, drippy effect on cloth as I have here on paper.

It’s amazing how much you can get done when you stand at a table for most of the day working!

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For one day only (again)

Viv and Kev at ArtVanGo have asked me to come and be one of the artist’s in residence again at the Knitting & Stitching show in Harrogate. Because I had such a lovely time at Ally Pally and, because I have to be in Harrogate to do my stint on the Studio 21 ‘Colour Notes’ stand, I have said yes!

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I will be on the Artist’s in residence stand all day on Saturday 24 November.

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I am going to be exploring ways of using the pigments that I have gathered from the environment – red clay, yellow ochre, chalk and sea coal – and I will be making paint. I will be processing the pigments in order to make watercolour paint, acrylic paint and a type of printing ink. I will then be painting and printing with them on paper and cloth (that’s the plan at least).

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These drawings use synthetic colours, but the yellow/orange colour is yellow ochre that I have collected from the cliffs at West Runton. It has been roughly ground so that the silica grains are still quite coarse and mixed with a binder so that it stays on the paper.

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I love the way the fine pigment and the silica separate out as the water and paint runs through it. It is much like the way sea or rain water would create runnels through the earth outside in the natural environment.

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These small drawings will be for sale in Harrogate …..

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and during the day I will be making some big ones as well.

Out of the window

I seem to have had a lot of waiting around recently – waiting for paint to dry, waiting for plaster to dry and waiting for clay to harden. With time to spare I’ve taken a cup of coffee, my sketchbook and paintbox and have been recording what I see out of the studio window. The ‘bones’ of the view rarely changes: look left, right or straight ahead, but the light, the weather and what my eyes alight on at any one time is different each time.

Here are the last six sketchbook drawings.

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Colour from the landscape – Painting

As promised, here are the paintings done using the watercolour paint that I made from materials gathered whilst walking in the landscape. I have named the colours: Cley red, West Runton yellow, Wells black, Hunstanton white and West Runton white.

They were done working quickly and from memory on A4 ‘rough’ watercolour paper. I also used a neutral oil pastel and a soft graphite stick. The paints make soft colours that are perfect for capturing the sights and sounds of the marshes and beaches of the North Norfolk coast.

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Brisons Veor – Drawing

Notes from my sketchbook:

Black rocks

Lichen splattered at the top

Deep, dark cracks

Waves on the rocks – coming in fast

Rocks jagged at the top

Others smooth

Seams of quartz run diagonally down

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‘After all the rain yesterday it is dry. I get up early and walk round the hump of the peninsula to Porth Ledden, a little cove to the north of Cape Cornwall. The tide is out but coming in fast. A strong, cold northerly wind – biting. Down a slippery, pebble-sloped jetty onto the beach. Rounded boulders and huge, towering black rock stacks. Sharp and smooth together. Dark crevices and lit, rounded surfaces. A beach of contrasts.’

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I drew directly into my sketchbook on the beach, but one of the aims of the week was to try and produce drawings, in the studio, away from the comfort of the sketchbook. This is something I find very hard to do and I find myself reluctant to try because I find it so difficult. I suppose there is no pressure to ‘get it right’ in a sketchbook, it is purely a personal record – marks to document something I have noticed. A stand alone drawing, on the other hand, has to work in its own right; it has to convey a sense of what the artist saw, heard and felt at the time. It is there to be looked at!

My other difficulty here is, are they drawings or paintings? I never know what to call these works. When does a drawing shift to being a painting? Is it just the media used or is it the intention? I think it is the intention. A drawing is an enquiry. It is a pulling out of information from the mind and the imagination and it is a method of thinking  – a literal drawing out. A painting, for me is what is done when the thinking has happened. It is about paint on paper and mark making and an instinctive response to what is happening  in front of you.

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These are works on paper  – drawings – that have jumped out of the sketchbook onto a single sheet of watercolour paper. My aim now is to make them jump again, this time onto a canvas ….. to become paintings. I think some of them may well go quite a lot bigger!

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The drawings are on A3 watercolour paper and I re-sized the paper of some of the drawings before starting to alter the proportions. I used watercolour, acrylic, wax resist, and ink.

Colours of the Landscape

It is an ancient practice for artists to use earth as a painting material. For centuries (almost forever in fact) earth has been dug out of the ground, processed and mixed with binders to make colour. Raw earth colours can range from yellow to red and brown and when burnt can darken the colour substantially. The main colouring material in these earths is iron.

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Chalk is another material that comes from the ground. It is a variety of limestone and was formed over millions of years from the skeletal remains of minute plankton called coccolithophores. It is, of course, pure white.

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Sea-coal is a coal that washes up on the beach from exposed deposits that exist on the sea bed. It is a dark, dark black and is shiny and remarkably ‘clean’.

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These three cloth vessels (I am calling them Ground Works) have been coloured with local yellow earth, chalk and sea-coal. The materials have been collected from beaches along the North Norfolk coast, ground and then mixed with water to a creamy consistency and rubbed into the cloth. A wax and linseed oil mixture has been applied when the paint was dry. I’m remarkably pleased with the pure colour that I have managed to achieve with these hand ground, local pigments.

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The ground pigments can also be mixed with a binder, in this case rabbit skin glue, to make paint. The paints I have made are rough and textured. I found the sand in the yellow earth difficult to grind down to a very fine texture and the sea-coal is also very hard and so difficult to grind finely. However, these local colours are remarkably intense and their texture is certainly interesting. It pleases me that the colours make a direct connection between the non-descriptive ambiguity of the vessels and the realism of the drawings.

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I love the idea that a material dug up from beneath the surface, in this case the colour, is able to describe the landscape above and so connect the work to the environment both physically and visually.

 

Painting and drawing

Everyone is back where they should be after the Easter holidays and suddenly I find myself on on my own for a couple of days. Although I have things I should be getting on with, I decide to take a break and do some painting and drawing.

So, this is how a near perfect day on my own goes:

  1. Go to the art shop and buy a couple of sheets of lovely 300gsm watercolour paper.
  2. Stop off on the way home at Morston quay and buy a cup of coffee from the National Trust shop.
  3. Drink coffee and take in the view and general hustle and bustle (boats being put in the water for the first time this year, dog walkers, seal boats loading up to take people out to Blakeney Point). Enjoy the sunshine.
  4. Follow the path along the creek and across the marsh with sketchbook and pencil in hand.
  5. Stop every now and again and draw what catches the eye.

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  1. Lunch
  2. Get out painting equipment, put on music (Bach, Brandenburg Concerto’s) and spend the rest of the afternoon painting (keep half an eye on the morning’s drawings but paint mainly from memory).

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