Another new technique for me. I went to a one day workshop at Ardington School of Craft run by Beth Jenkins on the American technique of white line woodblock printing. It was intended to be a simplified form of Japanese woodblock, requiring just one block for the whole image, using watercolour and gouache as the print medium. It is really also closely related to mosaic and stained glass techniques.
Each area of colour is outlined by a gouged groove, the white lines, and then the area flooded with watercolour and the image transferred to thin paper by hand burnishing. Only a small area can be done at one time, so the paper and block need to be kept in register the whole time. Only one print at a time can be produced, and all will be different in colour. You can have indefinite print runs.
My first block, based on a photo I took off razor bills at St Abbs Head. The block itself is beautiful at the end.
I’m working on a second print in my studio. A roosting kittiwake I sketched at Dunbar. Still working out the best colour scheme.
I haven’t printed for a while, so decided to have a go at creating a print from one of the sketches I did out on the Bass Rock.
I redrew the selected part of the sketch, adding a bit here and there. Then transferred this in reverse to a lime wood block and started carving a basic key block drawing. I’ve had this lime for years and wanted to use it. Lovely to work in, but a tendency for unintended bits to chip out.
I took a couple of proofs onto cartridge paper, and coloured it up to get an idea of the finished work. I decided to cut out the hatched shading. Not sure now that was the best idea.
I cut two more blocks for head and pebble colours and shading. I used lino simply because I didn’t have any more lime. I’ve proofed the three blocks onto Somerset paper. Quite pleased with the outcome, but the are several tweaks to the carving needed before I do a final edition. I think I’ll run off about 10.
I spent a wonderful week in June on the above mentioned course, with about 20 other artists. We were based in Dunbar in East Lothian and spent each day drawing and painting out in the open at St Abbs Head, Dunbar Castle, Seacliffe and best of all out on the Bass Rock. Sitting surrounded by thousands of gannets was a once in a lifetime experience. My drawings were OK but some of the art produced by the others was astonishing, especially when you realise it was all painted out in the open, sometimes in the pouring rain, and on the Bass, pouring bird poo. I’ll try and show some of the other artists’ work in the next entry. We spent one morning visiting John Busby’s studio, which was another high point. I bought one of his small paintings.
I’ve gone through a period of drawing birds in coloured pencil, after seeing some wonderful work by Jessica Lennox at Slimbridge. It’s a curious medium. Slow but meticulous. You can work on colours by endless layering, but it can be hard to get really intense colour. These are all based on my own photographs. I haven’t found it a good medium for drawing from life. These are all roughly A4 size.
Sometimes I doodle just by dotting with a fine tip fiber pen. Usually with inconsequential results, but sometimes it works well. This cormorant was drawn from memory after a visit to a lake. The dotting allows you to correct it as you go along. The red seals just set it off.
This shark was more considered, based on a couple of photographs. I used a grey pen for the water, which worked better than I had hoped for. This was a birthday card for a fishing son.
I haven’t done much printing recently, despite building a new hydraulic jack press, but I have done some. First, this year’s Christmas card, a lino print of a festive tufted duck. The red was dabbed onto the print with a stencil.
Then I went to a Dry point engraving workshop, run by Beth Jenkins at Ardington School Of Crafts. The engraving itself, based on a photo I took last summer, didn’t look all that special, but when I rollered on coloured inks over the intaglio engraving, the whole thing suddenly came to life. More a monotype than an engraving.
Each time I go out drawing birds I produce anything up to four sheets of drawings or paintings. The question was what on earth to do with them. I already have a plan chest full of work which I have to edit down, i.e. clear out and burn, at regular intervals. So I decided to work at a fixed size page, 12in by 9in, and bind the finished work into sewn books. I’ve completed the first one, with about 24 pages and an old woodblock print on the cover.
I used the coptic stitch binding that I learned a few months ago. It’s a bit loose, but it makes a nice coffee table book, and at least it is easy to look at the pictures, which are well protected.
I went to Slimbridge two or three times a week during November and early December, and really worked on my bird drawing. Mainly dry media although I still take all of my watercolour kit with me . I find it hugely satisfying.
The drawing process itself is thoroughly enjoyable , but you also learn so much more about the birds just by studying them so closely and intently for a long period. The colour and pattern on some of the birds , such as shelduck or lapwings , is just staggering. Even drab looking greylag geese have the most beautiful feather patterns.
In amongst work on my boats, I’ve managed to do some drawing today. I went to the Wildfowl and Wetland Trust at Slimbridge, which is just down the road from us, and had a go at painting some of the birds from life. Not brilliant, but it’s a start. I shall go back over the winter to see the migrants.
In the evening, I went to the Stroud Life Drawing drop in session for the first time in a long time. We had a lovely model, which made a nice contrast to the middle aged men that I seem to have been drawing in life classes for years. I used pencil to try a tonal drawing, which is not usual for me. Worked quite well and was fun to do.