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 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.
We had a wonderful model in Stroud last week, who held a difficult sitting pose over three hours. I was pleased with the way she came on, drawn entirely in pencil, but at the end, I had clearly squeezed her legs in, spoiling the proportions,and gave her a rather sour expression, which was quite unjust.
So I took her home and set to work. First, added a strip of matching paper at top and bottom so I could correct her legs and complete her head. Then I reworked nearly the entire drawing, until I was generally happy with her look. That is one of the joys of pencil and graphite. If you use good quality pencils and paper, you can rub out and rework endlessly. It actually seems to improve the drawing, giving it a deeper overall look. I thought that the studio cushions looked a bit like rocks, so went to town on them, and she quickly became Andromeda, sitting on the rocks at the edge of the sea.
But this Andromeda isn’t the poor sacrificial girl in Burne Jones painting that I copied a few months ago. She was forced to wait in chains to be claimed by Perseus, if he won, or be eaten by the dragon if he lost. My girl has got shot of chains, and Perseus, and is thinking what she plans to do next. I think she may suggest to the dragon that he goes and has a frank discussion with her parents as to why exactly they had changed up their daughter on the beach.
At Susan Kester’s drawing class this morning, we started with a blind drawing warm up. Pushing a pencil through a hole in a sheet of cardboard, which his you hand from view. You just draw what you look at. These are two sketches of a table lamp. I rather like them. Odd drift down to the lower left in both.
I don’t like Burne Jones that much, but he was a superb draughtsman. His figure of Andromeda is outstanding, if questionable. Her choice is to be eaten by a dragon, or given as a sexual possession to the stranger who turned up to take that possession. I think her pose indicates her feelings about this Hobson’s choice, so maybe Burne Jones thought the same. Her hand positions seem to indicate that she knows what comes next.
I decided to make a straight, gridded-up copy of her in pencil, largely as a challenge to see if I could capture a coloured oil painting in monochrome graphite.
I was pleased with the way it was working out, so I bought myself some really soft pencils and finished her. I left out the chains, partly because they are really hard to draw, but largely because I hate the idea of chains and restraint. The rendering of her feet is astonishing, and I find feet really difficult to draw, so I worked hard to see how EBJ drew them. Cleaned up, she almost looks like an engraving.
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.
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