More artichokes

Recently I posted a painting of an artichoke along with other flowers on my blog. I was approached by Stillman & Birn, the sketchbook manufacturer, who wanted to feature this painting on their blog. I am honoured to have my sketch acknowledged in this way. 

You can see this post here.

I thought it would be interesting to re-visit previous artichoke drawings and paintings.  

The first one is a miniature  - very fine detail using a tiny brush, most likely 5/0 sable.

Artichokes

Miniature diameter of image 50mm (2 inches)

Dimensions of wooden frame 90mm x 90mm (3.5 in x 3.5 in)

Artichoke - watercolour on Arches paper

This drawing was done using a Noodler’s Konrad Flex pen with Noodler’s #41 Brown ink. The wash has been created using a water brush while the ink was still wet. 

Artichokes watercolour on Arches paper 

Image size 170mm x 120mm 

Artichokes - Framed

And here is the painting that Stillman & Birn featured in their blog post:

Artichoke - ink and watercolour Alpha series Sketchbook

Soon some of these will be available as prints in my Etsy shop. I'll post details here and on Facebook when these are ready.

A Walk in the Park

On my early morning walk this week it was obvious that the park gardeners had been busy pruning. Piles of branches lay in heaps waiting for collection. I had seen some seed pods earlier in the week and thought of painting them and tried to pick a small branch without much success. (While wondering how much trouble I would be in?)
In one heap I spied the bright orange of these same pods - just lying there waiting to be turned into compost. On my return I picked a couple of sprays with some leaves and carried them home.

Now I gave up trying to do pure botanical work some years ago - I’m too impatient and I'm not one to follow rules either - so I wanted to capture these in a free, loose manner.

Tulipwood Tree - Hapullia pendula ink and watercolour

I painted the orange seed pods first without any preparatory drawing, and then the leaves. Once the painting was dry I added a few ink lines and my story. My approach to the sketchbook page is to compose my subject as though it were on a canvas where I would not be adding and words. I still need to work on leaving space for a block of text. The other consideration when using the Fabriano Venezia is the size of the book. It’s slightly larger than A4 so it is difficult to scan. Secondly, the opened book doesn’t lie completely flat so there’s always a shadow in the gutter which is maddening. The alternative is a quick iPhone photo which is what I have done here, hence the blue cast to the photo.   

Note to self: Remember to plan for text and mark off the inner area so the sketch can be scanned easliy. 

 After completing the sketch I still didn’t know the name of the tree so I Googled:

“Australian tree with orange/red seed pods and black seeds” and there among the first images,was a lovely photograph on Flickr,  Tulipwood Tree - harpullia pendula. 

Portraits, portraits and yet more portraits

I've been on a portrait binge. Painting them that is.

This all started during the last week of Sketchbook Skool when students started doing portraits of the Fakulty members, and Tommy Kane in particular. Tommy became so enamoured of our efforts he asked us to send the portraits to him - he had an idea for a new book. The trickle of "Tommy" faces became a flood. The link above is to Tommy's marvellous book - but more about that in another post.

Here is my first - a portrait using the humble Bic ballpoint pen with a wash of watercolour. I took at screenshot of one of Tommy's videos. He's standing outside Muscle Park.

Tommy Kane - Bic pen and watercolour on watercolour paper

Then I decided to do another one, this time I used Tommy's Facebook profile photo. This one is also done using the black Bic.

Tommy Kane Bic pen on A4 Hanemuhle paper

These first two drawings  were done slowly, building up the values gradually. Over the past weeks I've been working on a portrait commission - a family of four: Mum, Dad and the two children.
It's been slower than I would like but the light at the end of the tunnel is shining brighter and I'm almost done.  I wanted to paint a portrait in a faster more spontaneous way. I decided to use a limited palette of Schmincke gouache which was a recent purchase. 

So who would be my subject?

While watching another video, this time Danny Gregory talking about Sketchbook Skool - I took another screen shot - Danny's expressive features made him the ideal portrait subject. I painted this in a Fabriano Venezia sketchbook.

 Danny Gregory - gouache in A4 Fabriano Venezia sketchbook

Happy with the result I wondered - who should be next?

Aha Jean-Christophe Defline! 
He's a fellow klassmate and very talented artist - check out his work in his blog here... It's a good thing he loves pink!

Jean-Christophe Delfine - gouache in Fabriano Venezia sketchbook

Now on a roll, I found a photo of the beautiful and talented Elsbeth McLeod,also a klassmate. Please have a look at her excellent portrait of Tommy on her blog here.

Elsbeth McLeod - gouache in A4 Fabriano Venezia sketchbook

These portraits were done relatively quicky. I didn't make note of the time but I would say they each took a couple of hours at the most. The difference with these portraits is that there were no big expectations. I didn't have anything to prove, I could just have fun trying to capture the essence of these wonderful people. 

Tomorrow it's back to complete my family portrait. 

Sketchbooks

I have a confession. I have been somewhat obsessed with sketching and sketchbooks lately - and I love it. I've been sketching for years, sometimes more sometimes less and I thought I would write a bit about the books I have used.

Sketchbooks - bottom to top - Fabriano Venezia A4 and A5; Daler Rowney Petrol; Blank Magneto Book; Stillman & Birn A5 Beta; Moelskine Sketchbook and Daler Rowney Eggshell

Over the years, my medium of choice has been a pen, usually a fine liner or pencil. This was governed by the type of books easily available in South Africa. The ones used most often were simple blank books A5 and A4 from Exclusive Books. The paper was most likely only about 110gsm and not suitable for watercolour. Pencil is fine but unless the drawings are fixed, the pages get very messy, so ink is a better option. 

Occasionally, I would be able to get Daler Rowney's Ebony and these were better and could cope with a light wash. Then I found the Moleskine Sketchbooks but unfortunately not the ones with watercolour paper! The paper in these is lovely for ink and coloured pencil but is averse to watercolour. However, manufacturers have to change things and as I write there is new packaging and I believe different paper. For up to date reviews of these changes,please check Katherine Tyrrell's blog Making a Mark as she will be posting her findings.

I also have an A4 Moleskine watercolour sketchbook that I am using. I'm not too sure how I feel about this one yet... The landscape format makes it a large rather cumbersome surface to work on. It's certainly not the book to pull out when you are trying to be discreet about sketching. And since it appears that the paper in this one has also changed makes my findings above rather irrelevant!

A good value for money sketchbook is the Jasart Sketch and Write, especially when they are on special. These have 150gsm paper, are hard bound and come in a variety of sizes. The book opens flat and is strurdy. The paper accepts a light wash, and can be used to test oil colour mixtures without bleeding through to the next page. The price allows one to be extravagant with page use so I use these for daily studio work. (This satisfies my semi-frugal nature)

A lovely book for ink, gouache, and watercolour is the Fabriano Venezia. It's a bound book, is sturdy and I like the cover. Since the paper is 200gsm it takes a fair amount of punishment. These come in both about A5 and about A4. I say "about" because these are slightly larger than A5 and A4 which comes with challenges when scanning as the page doesn't fit an A4 scanner bed. Another grumble I have is that the book doesn't open completely flat which causes problems when working across the gutter and creates a strong shadow when scanning.

 My basic sketching kit - Fabriano Venezia with a white Lamy Safari for drawing 

& Waterman for writing.

This brings me to the Stillman & Birn sketchbooks. I have used a number of these and like all of them very much for use with various mediums. The books all open flat so good to use a double spread and for scanning. 

The first I tested was the Beta 270gsm Weight: 180 lb. – 270 gsm; Shade: Natural White

Surface: Cold Press Media: Watercolor, Dry Media, & Ink

It's lovely for watercolour, though it has a bit more tooth than I like for pen work but still workable. But - the "but" is because the paper is thicker there are fewer sheets in the book so it's not that economical a choice.

Figs - watercolour and pencil Beta sketchbook

The Alpha Weight: 100 lb. – 150 gsm  Shade: Natural White  Surface: Vellum  Media: Dry Media,  Light Wash, & Ink

This is the one I would choose again as a daily sketchbook. It's 150gsm and because of the sizing copes well with a lot of abuse in terms of water. It's receptive to pen and a good number of pages per book so good value.

A favourite for pen is the Zeta Weight: 180 lb. – 270 gsm Shade: Natural White Surface: Smooth  Media: Watercolor,  Pen & Ink, & Dry Media and I do enjoy the rather crazy way watercolour behaves on the paper. 

The Epsilon Weight: 100 lb. – 150 gsm  Shade: Natural White  Surface: Smooth  Media: Pen & Ink,   Dry Media, & Light Wash has similar surface - smooth, 150gsm and copes with quite a lot of water. It's one I'm using at the moment.

Another new one that I am trying is the Hand*book sketchbook and find that I spite of not being a watercolour paper, it is handling paint well - more on that as I do more sketches in this book.

Hand*Book Journal - Ink and Gouache and small watercolour palettes ready to be filled.

Disclaimer: I am not associated in any way with the stores or manufacturers where links have been provided.

Sketchbook Skool

For many years now I have had sketchbooks. Previously the ritual of drawing daily was really only adhered to if I was away on holiday. I have a number of these and they are in effect travel journals, a wonderful reminder of great holidays.

At home in the studio, my sketchbooks had became messy work books, filled with rough sketches, measurements of planned paintings and the odd written note. I seldom dated anything and wish now that I had coupled the drawings with more written annotations to record more of my thinking or at the very least added the date.

These days, although I am a working artist, I had forgotten how much pleasure there is in daily drawing. I had forgotten the ritual of meditative sketching; of experimentation and discovery; the pleasure of filling a book with your images, thoughts and ideas. I like the idea of working through my creativity in both words and images, with each enhancing and enriching the other.

The Living Room ink and watercolour Zeta Sketchbook

  © 2014 Carol Lee Beckx

 

At the beginning of April I enrolled for an online course, my first ever. The first six week semester of Sketchbook Skool has been something of a revelation to me. The online camaraderie that has developed through posting ones sketches, seeing other people's work and giving and receiving comments has been so rewarding. I filled an A5 Fabriano Venezia sketchbook during the course, as well as using a number of pages in other sketchbooks.

I have started to post the drawings on my Flickr page as a separate gallery - SketchbookSkool. 

At the end of the course I made a few notes (the notes became an essay) and posted this on the group's Facebook page. Danny Gregory, who initiated the course together with Koosje Koene, asked if he could quote me. He posted my thoughts on his blog -The six weeks that changed my life. 

The second semester starts on July 4th. To cater for the tremendous interest in this course the first semester will run again also starting on July 4^th.

If you would like to learn how to make daily drawing and keeping a sketchbook part of your life then do yourself a favour and enroll.

Click here for more information about the course.

Research for painting cakes

Recently I posted the completed still life paintings for Deja` Bru Café. I spent an afternoon doing a quick sketch of the cakes so I had some reference for the oil painting. I thought you might like to see the preliminary sketch.

Cakes at Deja` Bru Café - Ink and watercolour - Fabriano Venezia Sketchbook

 ©2014 Carol Lee Beckx

Then a few days ago I went for coffee but couldn’t resist the Sticky Date pudding. There’s always a conflict when you decide to sketch your treat and there’s a strong temptation to forget the drawing and enjoy your treat. I’ve solved this partly by asking for extra hot coffee but the warmed pudding would just have to wait. At least until I have completed a quick ink sketch. The practice of the past weeks when I have been drawing daily has given me the courage to go straight in with pen and to live with the lines that may be in the wrong place.

Sticky Date Pudding & Cream at Deja` Bru Café - Ink and watercolour - Fabriano Venezia Sketchbook ©2014 Carol Lee Beckx

Both sketches were completed using Black Noodler’s ink in a Lamy Safari pen with an extra fine nib. Watercolour was added after the coffee and pudding was enjoyed. This also gave the ink time to dry.

I must add that the when I did the first sketch with the different cakes, the lovely staff at Deja` Bru Café brought each cake to me on a plate and then wisely removed one and replaced it with the next cake. So no cakes were harmed during the painting of these.

There was no such restraint with the Sticky date Pudding and cream!

43rd Worldwide Sketch-crawl Brisbane

My day started early with a stop in Margaret Street, Brisbane to draw the Bonded Stores. These buildings have just lost an appeal by Brisbane Heritage to the Queensland Heritage Council to save them from demolition by developers. The vote was close by 6-4 votes but it still means that they will come down.

Bonded Stores Margaret Street, Brisbane - Fabriano Venezia sketchbook 

©2014 Carol Lee Beckx

My sketch was on a page prepared with gesso/gouache under painting. On site I did a drawing using a Lamy Safari (EF nib) and Noodler"s black ink. On my return home I added more gouache - a sad drawing.

Next stop was the Queensland Parliament House in George Street. I wanted to try using loose watercolour washes for the building with no pencil or pen drawing. I left the double spread to dry planning to return later to do the drawing.

I joined my fellow sketchers and moved on to Old Government House. This building now forms part of QUT Garden Point Campus and houses the William Robinson Art Gallery, museum and café. (Unfortunately all closed during our visit as it was Easter holidays!)

Old Government House QUT ink and w/c Fabriano Venezia sketchbook 

©2014 Carol Lee Beckx 

Turning to face a different direction, I was struck by the contrasting modern buildings - Garden Theatre and the Science building.

Garden Theatre Ink and w/c Zeta Sketchbook ©2014 Carol Lee Beckx

The drawing of Parliament house was quite a challenge, particularly as it was almost lunch time. I used a Zeta A4 Sketchbook with a Lamy Safari (EF nib) and Noodlers black ink. Zeta is wonderful for ink but watercolour reacts very differently so smooth even washes just don't happen!

I debated whether I should add more watercolour for greater depth to the sketch.In the end I have left it as it was…I may still add more colour. The eternal question - when to stop?

Our crawl ended at Pancake Manor for coffee, lunch and a last quick sketch - a good day.

Bunya Riverside

Walks along the beach are the one thing that I really miss about living here. Now before you say - but there are great beaches here - absolutely - but they aren't on my doorstep. I need to drive for a couple of hours rather than fifteen minutes down the road.

However, I have found Bunya Riverside. It is an idyllic spot close to my home. It is very tranquil with a path along the river bank, meandering between trees. Reflections fascinate me - there is the magical quality of doubling a beautiful vista. 

Bunya Riverside oil on canvas 1000mm x 1000mm © 2013 Carol Lee Beckx 

My usual process is to work from plein air sketches and photographs. My aim is never a completely representational painting, but rather an image that has been edited, altered and transformed. Completing the painting away from the inspiration allows my inner sense of place to be foremost, rather than a slavish rendering of the scene before me.

The use of photographs originates from my years of living in South Africa where painting in the countryside was fraught with danger. Even stopping along the road to take photographs could often be extremely risky. Consequently, I am used to absorbing the essence quickly and then using the photographic images as a backup.

Bunya reflections © 2013 Carol Lee Beckx

When an artist takes pictures it's hard to not to edit and compose to such an extent that when back in the studio one often wishes the zoom had not been so enthusiastic and that extra details just beyond the image were included.

Bunya riverside © 2013 Carol Lee Beckx

This painting started with a bright under painting of Permanent Rose and a mixture of Cadmium Yellow and Indian Yellow. There are two benefits: the under-painting gives the painting a warm tone and helps banish the fear of the white canvas.


I was so sure that I had some work in progress photographs bit either they are hidden in my vast store of photo files or I got so carried away that I forgot to take any. I do have some of the plein air sketches. These will give an idea of the origins of the composition.

Bunya Riverside Watercolour sketch © 2013 Carol Lee Beckx

Bunya Riverside Watercolour sketch in Fabriano Venezia sketchbook © 2013 Carol Lee Beckx

When I start a painting I refer to my sketches and photographs so I have a framework for the composition. Later in the process the photographs are abandoned as the painting takes on a life of its own. Occasionally, when I lose my way, I go back to the sketches and re-discover elements that I feel need to be included in the painting. 

Knowing when to stop is an art in itself - and I'm afraid I don't really have an easy solution. I get to a stage when I feel there is nothing more to add - or remove. 

This painting has been accepted for the Moreton Bay Regional Art Awards. The exhibition opens on Friday 11th October at the Strathpine Community Centre. You can view all the finalists here.

Blog love

As the year gallops to a close, time has run away with me taking all my good intentions with it, mainly the plan to post at least once a week. (Don't even talk to me about a daily post - it's never going to happen!)

Well, I haven't done that lately. A commission that has been in the works for a while came to life and although I’d love to finish the painting before the Christmas holidays it’s unlikely that will happen.

I've been doing quite a bit of drawing having fallen in love with the Fabriano Venezia Sketchbook. (More about that later)

Seed Pods - graphite on Fabriano

So, I want to share a few links to blogs I have been following for a while. When you kick back and relax you will have something to browse through…

Wonderful photographs and gentle Irish words from FoxgloveLane…

Mattias Adolfsson does intricately detailed pen drawings with a hint of watercolour - he has more than a fair share of imagination…

Paper Ponderings has talk about books, paper, calligraphy and wonderful photographs (and Fiona's a seriously nice person - I met her on a recent studio visit) 

I first read Euan Craig’s blog just after the Japanese Tsunami - he writes so eloquently. He is an Australian potter living in Japan. Do yourself a favour and scroll back and start reading the posts from March 2011 - this is the link

Finally, if you have a severe case of wanderlust but no travel fairy to buy your tickets then you will enjoy reading Hecktic Travels - exquisite photographs and good writing - it will make you want to pack your bags and go somewhere...

Do let me know how you get on - there'll be more another time.