Testing the Beta Sketchbook

The choice and quality of drawing tools is very important for an artist.  Last year I was given the opportunity to work with a number of the exciting Derwent drawing pencils and Artbars. So, too, the paper used has a big part to play in the final result of a drawing or painting.

I have discussed various sketchbooks on Art Matters as my search continues for the perfect book. There are a number of criteria - the quality of the paper; the responsiveness to a variety of media - i.e. is it suitable for pencil, ink and watercolour; the size of the book; the robust quality of the binding and the cover.

I am definitely prejudiced in favour of bound books, never having liked the mechanical feel of a ring-bound book. I like to have the freedom to paint and draw across the gutter and, moreover, I just love a proper book. However, Stillman & Birn books come in both Hardbound and Wire-bound formats so everyone can be satisfied.

The new journals produced by Stillman & Birn have been in the news on drawing and sketching blogs all over the world. These sketchbooks are now available here in Australia. I have been given one of the Beta 14.0 x 21.6cm sketchbooks to try.

The Specs:

The paper in the Beta is 180Lb./270 GSM;

Natural White

Cold Press surface

For Multi-media work

There are a number of different sizes in each of the series. I haven’t tested any of the others yet so I will confine my comments to the Beta series.

The binding is extremely strong and if broken in correctly (yes, it’s recommended that you are tough with the book when you get it) will open completely flat. The cover has a good surface that will stand up to being thrown around without starting to look shabby.

I started off with a simple pencil drawing, and then tried the same subject in watercolour only.

A spray of bougainvillea from my early morning walk provided the subject for trying ink with watercolour. This I followed with a detailed drawing of a Chinese Dragon vase using a very fine pen - the Platinum Carbon pen. 

The final sketch in the first series of tests was a plein air drawing of The Old Windmill in Spring Hill, Brisbane. For this drawing I used a Pigma Micron 005 and watercolour.

The Old Windmill in Spring Hill, Brisbane.

Although I have done only a few sketches to date, I found that the paper responded very well to all types of media with good results. I’m looking forward to more drawing fun over the long weekend.

A Blessed and Peaceful Easter to all who will celebrate this special time.

More studio visits...

While writing about my own studio in Inside My Studio, I began thinking about more artists’ studios and the many videos showing their studio spaces and work process.

Bunya Riverside -oil on canvas - 1016mm x 1016mm - Carol Lee Beckx ©2013

Recently I discovered Brian Rutenberg, and the video series AStudio Visit with Brian Rutenberg. He is a painter based in New York. His vibrant abstracts struck a chord deep within me. 

These Studio visits are great; the paintings are inspiring and provide a wealth of inspiration. Brian talks about his paintings, the influence of his teachers, as well as other artists. He gives us some insight into some delicious colour mixtures, particularly when adding a neutralizing colour. Be prepared to spend some time with Brian - the visits are up to number 27!

Another artist whose videos I have enjoyed is Krista Harris She has produced three videos where she talks about her process and shows snippets of her painting in the studio. These are not "how to" in the sense that you see her completing a painting, but rather an overview of how she builds an abstract work. 

Rebecca Crowell is an artist deeply involved with the surface of her paintings, as she says on her website:

"Multiple layers of paint are selectively scratched, eroded and dissolved, an approach that reflects the natural processes that inspire me."

This video shows how her paintings grow organically, layer upon layer. Often the format of the painting is changed by adding a second or third panel to the work.

Enjoy watching these - and then - back to the studio!

Inside the Studio

Artist’s Studios fascinate other artists, collectors and art historians so I thought I would give you a glimpse into my studio. It’s a smallish space - I have banished my car and taken over the garage for my studio. An air-conditioner has been installed to prevent me melting in the heat of the Australian summer, and to any painting fumes. However, I am careful to use odourless solvents and mediums and where possible to open up the doors and let in the fresh outside air.

This post was prompted by an interesting Facebook Page called, suitably, A Peek Inside Artist’s Studios which invites artists to post photos of their studios.

Looking at images of artist's studios reveal a multitude of approaches to studio design. There is the 'nothing gets moved/cleaned/thrown away' variety and also the pristine clinically clean and tidy kind. I must confess I didn't find too many of those!

I think I tend to fall somewhere in between. At heart I am practical and tidy. When I'm working materials go everywhere with abandon.Then I have to tidy up. OK, it's confession time - I have to make room for my students...

When I was unpacking my boxes some favourites were the two Ardmore ceramic pieces. I bought the bowl and jug  many years ago(pictured above). This was before the Studio found fame on the world arena, and when they were (sort of) affordable. I decided immediately that instead of hiding them away in a cupboard I would use them in the studio to store my watercolour brushes.

This video is an interview with David Dawson provides not only a glimpse into Lucien Freud’s Studio but his way of working and personality as well.

I find the images of the studio of Francis Bacon quite disturbing - I couldn't  in my wildest dreams work in a studio that wasn't organised.

The piles of stuff would literally drive me crazy. I must confess to having a “be kind to brushes” phobia - I cannot bear to see brushes abandoned in tins, encrusted with paint. I need a clean palette and lovingly cleaned brushes.