This last weekend, we (myself and fellow artist Hugh Winterbottom) ran our first Sketchbook Sketching Foundation workshop which aimed to equip people with some of the techniques and skills for drawing out on location and for recording their world in sketchbooks. It was an action packed two days (9.30-16.30 Saturday and Sunday) with a range of subjects covered and lots of opportunity for sketching practice. This blog gives an overview of the weekend and what we learnt in the process. Continue reading
I thought I’d write this Q and A piece to fully explain what my #ThisPlace Series of sketches is all about before its launch later this month.
go to site What is it?
Those of you that know my work will know that I am a keen urban sketcher and reportage illustrator. As a trained landscape designer, depiction of a i want to buy pregnizone without a prescription ‘Sense of Place’, capturing in my drawings, what it is that makes that place like it is, is very important to me. Therefore, I wanted to create a series of drawings throughout the year, of the Places around the Northwest that I love, visit and connect with. Hence the name ‘This Place’ Of course I may include the odd drawing in the series that is not the North West of England, but for the main part, they will be of the North West, including Manchester. These pen, ink and watercolour wash/coloured pencil drawings created on very high quality watercolour paper (or paper suited to the medium) and framed will be available for purchase. They will be either A4 or square (8” format) (excluding the Frame so a little bit larger with the frame and mount).
Over the last few weeks I have been using grey-toned Strathmore Paper to create drawings, in addition to my usual watercolour sketches on white watercolour paper and in sketchbooks. The contrast between the two different approaches means that I have had to think about the various aspects of drawing and adding colour and darks in different ways to what I have been used to. This blog outlines my approaches. In parallel with this toned-paper work, I have had my eyes tested and have now reverted to wearing a combination of reading glasses and varifocals. The later should be much better for when I am out and about drawing! One of the two pairs is indeed rose coloured and I must admit to thoroughly enjoying my work on toned paper. Long may my rose-tinted glasses serve me well! Continue reading
When I first started drawing very regularly in 2013/14 I set myself a task to be drawing every day within 6 months. I managed that and at the time, well, until recently, I had done that. I was often doing several drawing courses, e.g. Craftsy, on-line sessions like Sketchbook Skool etc. It didn’t seem so hard. There was a variety to draw and there was direction. But as time went on, I got my own direction, my own commissions and yep, my own pressures! Bigger (I started with A5 sketchbooks but now I usually use A4 or bigger, paper or sketchbooks (a topic for another blog!), more detailed, more text, …more time…It was a treadmill and I got the impression that If I stopped, I might never start again! Continue reading
Last weekend whilst out sketching , one of my fellow sketchers asked: how do you go about choosing your view to sketch? It’s an interesting question and it got me thinking beyond the theory of composition, at how exactly I choose my view to sketch . Here in a short summary; mainly illustrated with recent sketches of my local area are some of the things I take into account when deciding which view to draw and what to include. Note that with most of them, there is more than one reason the composition was chosen. Continue reading
Last weekend I was fortunate enough to have been one of the artists who took part in a go here Mehndi festival, in a house in Levenshulme, Manchester. This blog is about my involvement, the approaches I took to develop my henna tattoos and the results…I did say this one was a little different! Continue reading
A couple of weeks ago I posted a blog about the process of creating my artworks including prints and my 2017 Calendar for my stall at Sale Arts Trail Christmas Bazaar on Sunday 27th November 2016. You can read it here. We are now only days away from the festivities so I thought I would give you an update with some snippets of what I’ve got in store for you at the Bazaar. As I mentioned in my previous blog, although I have been a frequent visitor and sketcher at the previous events, I have not exhibited before so its a super exciting time for me (with a little bit of nervousness thrown in for good measure!). Continue reading
This last month (to the day) has seen some drama in our house. When I say ‘our’ house, I use that as a general term. It’s the place I grew up, not the same house I spent my childhood in but its home because the people (my mum and dad plus others) and the ‘things’ make it so. It’s where I have so many memories and now I have been given some time to be able to capture them in drawings. Not that I have had too much time yet, but I have made a start and I will continue. So this blog is about drawing memories: a sense of place and sense of things. Continue reading
I am thrilled to have been invited to exhibit and sell my drawings at the Sale Arts Trail Christmas Bazaar to be held on Sunday 27th November at the Claremont Centre in Sale. I have attended both the summer and Christmas events as a visitor and also as an Urban sketcher in recent years, so it is particularly thrilling for me to be able to exhibit for the first time. Continue reading
Over the last two weekends, I have visited two different Manchester locations to draw: The Etihad Stadium in East Manchester, the Manchester City Football Club grounds and ChinaTown in Central Manchester. Each of these drawings were created over a several hour period: pencil, ink then watercolour (paint and pencil). In terms of identifying the best main view and composition, I did this by walking around the site and observing different aspects: the angles, the depth of view, the light and shadow etc. The other thing I do is to write down (or at least have in my mind) key words that reflect what I feel for the place and what I want to convey in the main sketch. I can then refer to this as I draw. Continue reading
To say that it has been a traumatic week sounds dramatic. I received an urgent call on Wednesday lunchtime. By Wednesday evening I was standing outside the Stroke unit in my hometown down in Suffolk. Hugging my parents and wondering what was next. The corridor setting was quiet, cold, remote and downright scary. There seem to be 3 types of people around; those going about their daily routine; those who have come to know this as their daily routine and the downright fearful. Continue reading
Autumn has always been my favourite season. For two main reasons: firstly the quality of light ; lower in the sky but with a warm glowing quality: in the UK it has often been a sunny and bright season. Predictably, the second reason is for the stunning colours; burnt reds; rich oranges and simmering golds; magentas and the like. Continue reading
As promised, this is the second post of my holiday sketches from Zante, the first, arguably more polished sketches, can be found here. I am so pleased that I decided to take a small portable A5 moleskin watercolour sketchbook as well as working on loose paper. The sketchbook enabled me to record my visual diary, in parallel with the finished pieces on paper and importantly, it allowed me to be looser, more experimental, less polished and to have fun! Continue reading
For a while I have been torn between using loose watercolour paper to create my sketches and recording in sketchbooks. There are pros and cons and as an urban sketcher with an interest in telling chronological stories through drawing, I have often worked in sketchbooks (moleskine, Stillman and Birn, SeaWhite, Handbook) and most often at A5 size for its portability. For me, the issue with using that approach alone is three-fold: one is the size is arguably a little small (although of course you can buy larger size sketchbooks, but then there is the size and weight!) ; secondly creating prints from them is not always straightforward. The third is that because work for prints was in my sketchbook, I was getting tighter and more precious with my sketchbook work (which is the opposite of what I want!). Continue reading
It has taken me longer to move on from the urban sketching symposium in Manchester than I had expected although I wasn’t sure what I expected really! You can hear about some of my takeaway lessons from my role as correspondent here. The olympics has certainly helped me to move on over the last two weeks and I don’t mean because it was a diversion or that I sat and sketched the activities ( although that may have been a good idea! ) but that the athletes talked so passionately of this concept of just keeping practicing and going on to improve skill- just keep on going… It’s a point well made.