SKETCHBOOK STUFF

Sketchbook stuff:

Not sure where this guy came from but he looks like a friendly ogre so don't be afraid.  Perhaps he guards the town as it sleeps?

After a very colorful sketch, I like to return to graphite with just a touch of color.

Then back to some colored scribbles.

LAST ENTRIES FOR SKETCHBOOK REVIVAL

Sketchbook Revival has come to an end, but I hope to continue playing in my various sketchbooks this year.  


Artist Whitney Freya took us back to our heavier sketchbooks to use acrylic layering and stenciling as an underpainting/start to a finished piece.  I didn't get any farther than this underpainting, but she suggests you do a lot of these at a time and have them ready for use when the muse arrives.  It would be a good way to just put down color when you're not sure what you want to paint or draw.  I used only 3 acrylic colors and ended up with the southwestern-type background to add stencils to as a first layer.  Who knows what will show up later?

After a few days of this one sitting, I thought more about the southwestern motif and came up with some pictographs/petroglyphs on stone walls and it's done :)  (Sorry but it looks like I got a bit of glare from the lights which faded out some of the color - it's really vibrant and bright like in the top painting with the hunters added on in acrylic.)

This was a freebie demo given to the participants of the Sketchbook Revival course - by Val Webb.  My colored pencil is rough because I did this on my Strathmore Visual Journal #90 (she did her demo on copy paper, which I didn't realize until later).  So...better to do this on smooth paper to get a better look.  I could go in with watercolor pencils and wet that, too, to smooth things out, or just leave it rough like this.  My eggs didn't get light enough, either (I am limited with my set of colored pencils).  Enough excuses!  I could work on this a lot longer, if I chose.

TIFFANY AND TWISTED EXHIBITS AT THE TAFT MUSEUM OF ART

On Wednesday of this week, my brother-in-law, Mac, treated me to breakfast out and then a trip to the Taft Museum of Art to see the Tiffany glass exhibit (and the willow branch installation by sculptor, Patrick Dougherty - called Twisted).

It was a fun day and I had already painted this for Mac and my sister to commemorate the day.  They both loved it and that made me happy.  It is a copy (kind of) of one of the Tiffany windows called River of Life.  

If you are in the Cincinnati area and get a chance, go by and see it SOON because it will be gone May 27th - and the willow tree saplings (6 tons of material which took 150 volunteers to help produce into the swirling, hobbit home-like shapes) is amazing!!!  It is on the front lawn of the museum and you feel like you've stepped into a "Willow Wonderland" (Mac's words for it) as you walk through and around, touching the entwining saplings and marvelling at what imagination and teamwork can do.   Right now, the peonies are in full gorgeous bloom and set off the willow dwellings perfectly.  Check it the information here.

I also did this little doodle in my sketchbook (thin paper for dry media only) - I am trying to follow through and work in my sketchbook even if it's doodles and lines and scribbles for now.  I put the sticker on there after our visit to commemorate the day.  

Of course, we are getting rain but maybe you can get there in between showers today or tomorrow?  Tomorrow is a free day, I think?

STRATHMORE VISUAL JOURNAL #90

Painting in the Strathmore Visual Journal #90 (it holds up well to collaging and to using acrylics and stamping.




Painting a pretty girl from imagination, along with
Tamara LaPorte.  Using watercolor paint and markers of all kinds (the kinds that bleed and run).

This little clown showed up the next day as I took out the paints and markers again.

And children's book illustrator, Nina Rycroft, showed us how she creates her characters from reference materials, drawing shapes, reshaping things to make them more human, and so on.  Pretty cool!  I did all mine with a blue erasable pencil for no other reason than that I picked that one up.


The fox shapes become little girls = Florence Foxx :)

USING ACRYLICS IN THE STRATHMORE 90# VISUAL JOURNAL

Continuing to work in my various sketchbooks (Strathmore Visual Journals, both 140# and 90#, as well as a plain paper sketchbook 6 x 9 inches using light-weight paper).  Some of the videos from the Sketchbook Revival are sooo inspiring and interesting and others don't move me much, but it's still interesting to see other artist's sketchbooks (and see how many some artists have created over the years)!

These are in the 90# sketchbook using acrylics to lay down color on the pages - from the video by Anna Maricle.  She does this as a way of priming the pump of her creativity and it takes little thinking effort at the time - just pick some colors and put them down, then you can always go back and paint, collage, draw, etc. over the base colors.  I liked painting the bottom layer in black acrylic paint and, before it dried completely, going back in with marking tools and scratching into it for designs = kind of like a sgriffito?

Interference Blue (acrylic heavy body paint) over black acrylic (after it dried).  This is just a start and could lead to other things...or not! ha ha

Caran d'Ache crayons and water only.  Playing in the 90# Strathmore Visual Journal.  Although only 90# paper, it holds up pretty well to wet media.













I hope, if you are following along with the course, that you, too, share some of your work!  And are you getting your freebies along the way?  I'm looking forward to delving more into those, too - but not right now as I would be overwhelmed with artwork!!  The Sketchbook Revival is available until May 18th (then, maybe the links are gone?).  I have one more to finish and then some other freebies to get into.

BOTANICAL PAINTING/DRAWING IN THE SKETCHBOOK REVIVAL COURSE

Botanical artist, Wendy Hollander, led us through her steps to create volume and 3D effect using nothing but graphite, colored pencil and watercolor pencil.  


Botanical artists don't put in shadows (why is that - does anyone know?), but I put in the shadows for my little acorns.  


I didn't finish the leaf yet, but I will.  This on ~ a fourth sheet of Arches 140# hotpress paper.

I really enjoyed doing this as I rarely work with colored pencils - and have a lot to learn from them as to layering lightly to get into the darks slowly (I tend to rush the color and value).

Happy Mother's Day!

SKETCHBOOKING CONTINUES

More from the Sketchbook Revival online course hosted by Karen Abend:

The top two were done (in a 6 x 9 inch sketchbook made from light-weight paper) while watching and working along with Amanda Grace as she talked to us about the importance of scribbles and using them as more than warmups - and what you can add to scribbles.  I like the bottom right = scribble all over your page with Caran d'Ache watersoluble crayons, then paint white gesso over that and, before the gesso dries, scrape into it, allowing the colors underneath to show = pretty cool.  The top is just scribbles and then collage bits on top (I didn't get my materials together ahead of time so just rushed to pull out some bits for collage).

This silly bird was something I'd begun in the same 6 x 9 sketchbook but never did more than a light pencil drawing.  So, I got out the colored pencils and colored him in, making him very colorful, indeed!  He's perched on top of the ice waiting for a fish.

MORE SKETCHBOOK REVIVAL WORK

This one began with some heart work in one of the videos (I think it was the Shelly Klammer session).  

It began as this heart, some lines, and then tracing a leaf pattern from a sketchbook I had (I cut out the sketch from the thin paper and just taped it down and traced around it, then painted inside).

It was probably done, but Sketchbook Revival is all about the process - so do more and see what happens...

And this happened :)


More Caran d'Ache water soluble crayons, more linework, and more color.

Sometimes you have to know when to stop!




There are SO MANY videos shared on the course, it's hard to "keep up" but I'm trying not to pressure myself about it.

We have the videos available until May 18 - plus, each sketchbook artist in the course is offering freebies that could take you to more play and fun, too.

This one was done while watching Val Webb (LOVE HER!!) sharing her ink technique for a great blue heron = fun and interesting shapes using an old chip brush (from the hardware store) and India ink only.  I've taken 2 online courses from Val and she shares to much information, holding nothing back - it's worth checking out if you like painting birds or plants.

I'm looking forward to the botanical artist videos, too.

So...more to come!  

If you want to join in, you still can - just look for 
Sketchbook Revival (Karen Abend - the host), and you'll find it.

SKETCHBOOK REVIVAL WORK

More sketches/paintings in my Strathmore Visual Journal while following along with the videos in the Sketchbook Revival course...fun!!

I have a lot of sketching materials, including Tombow pens in 3 shades of black-grey (these have a pen nib and a brush nib and are beautiful when you wet the lines you put down, bleeding a bit).  I have a set of Pitt Artist pens, too, all in black and various sizes.  I have conte crayons (chalk), oil pastels, dry pastels, etc.  So why don't I sketch more often and use them?





I may not want to show all of the Sketchbook Revival stuff, as some will be personal and/or just junk!

This one was done by just making shapes on the paper with a marker, then filling in those shapes with watercolor and marker, then painting around the edges with India ink.  See the bird in the top left that just showed up?  Sometimes you get things that surprise you.

STRATHMORE VISUAL JOURNAL

I like the texture and the way the paint sits on the paper in this journal.  I bought 2 of the 140# Strathmore journals (for wet media) and 1 of the 90# (for sketching/drawing only).  

The following are all in my Strathmore Visual Journal, 140# watercolor paper (9 x 12 inches).  Some of the sketches/drawings/
paintings were done when I was taking a Val Webb class in painting birds.  The others are from the Sketchbook Revival course hosted by Karen Abend.

I'll share more sketches as I go along in the course.  So far, I'm enjoying it and it's getting me to pick these up again and go for it.

Both of these were done when I was working in the Val Webb online course in painting birds.  (Val does one of the videos for the Sketchbook Revival course but I haven't watched it yet - she is great, though, so I'm looking forward to that one).

This is how I work = like a house on fire to start and then fizzle out!!

This one was just done as a way to do something - I have so many sketchbooks laying around, unused!  I seem to think I have to do an almost finished painting in them instead of letting them be repositories for thoughts, words, ideas, doodles, etc.


I'll share the actual work done while watching the videos soon - nothing finished or a work of art but just doodling, creating, doing, and filling up the pages as warm-ups, getting in touch with feelings, etc.  





The first video in the series is from an artist who will teach us how to make our own sketchbooks, but I have to admit, I skipped that one because all of these purchased sketchbooks are going to waste and I certainly don't need to make my own.  But if you're interested in that, watch the first video through and get your materials and make your own :)

If you cannot hook up to the course, let me know and I may be able to send you a link from my links - I'm sure it won't be a problem as it's all free.

CHARCOAL AND CHALK

Can't See the Forest for the Trees


Started another one on cream Mi-Tientes paper, using charcoal and conte crayons (colored chalks).  I am using vine charcoal, which is really messy, but it's fun to use...soft and blurry and dusty.



I used to hate getting messy with charcoal and chalk, but I find myself not minding so much now.  Wonder what that means?  

This one will be worked on as it's definitely not finished yet.

WHAT A CLOWN

The inspiration for this one was a grackle with a bit of suet/seed on it's beak, as if it was balanced there.  I immediately thought about a bird balancing a big, red ball = a circus bird!

You can't tell well in the photo, but I used some irridescent pigment mixed in with the regular pigment for the purple areas.


What a Clown!

Happy May!

MULTIMEDIA ARTBOARD PAINTING

Found a small and larger piece of Multimedia Artboard I purchased a long time ago.  The paint sits on top of the thin board, which makes for some interesting textures and open spaces.
  



Bluejay says, What?









For the next few days, I'm going to be participating in a Sketchbook Revival free online course - lots of videos to watch and lots of good ideas on how to revive your sketchbook.  It's hosted by Karen Abend and includes Danny Gregory, Ria Sharon, Shelly Klammer and Val Webb (I've taken 2 online courses from Val and she's great) - and lots of other artists who take us on a journey through their sketchbooks, their processes, and what they want us to do = jump in and have fun.  I've watched 3 episodes so far and am enjoying it.  I'll share some of my sketchbook entries later...

Of course, that doesn't mean I won't be painting others things, just that I'm including some sketchbook drawing/painting/collage into my usual practice.  

NOT SURE ABOUT THE BACKGROUND IN THIS ONE

I was thinking it was done but...
Not sure about the background in this one.

I think it needs more color there.

What do you think?

COMFORT

Another charcoal on a sheet of cream colored Mi-Tientes paper (has a rough texture to hold the charcoal). 


Comfort 

SENDING ME ANGELS

Black and white charcoal on 140# coldpress (Arches) paper.

(Think I'll change the one in the back right who looks like a blimp.)




Sending Me Angels

BLUE JAYS COMING AROUND

Almost done but some more color and shaping to do on both birds before it's finished. 

BLUE JAY MAMA AND BABY

The Winsor Newton texture medium dried on the branches and I began painting them, paying attention to the colors and lights in the photo.  Added a little Cobalt blue to the background sky while it was wet.


Birds come next!

BLUE JAYS IN SPRING

From a quick photo taken out the kitchen window, a mama bluejay feeding a baby.  This one shows both of them but not the actual feeding (didn't care that much for that photo as a future painting).

I printed out the photo to 5 x 7 inches and then, taking a half sheet of tracing paper, I drew the image on the tracing paper.  Then traced the drawing onto watercolor paper (a half sheet Arches 140# coldpress).

Before I began painting the background, I used Winsor Newton Texture Medium on the branches to give them more oomph.

After that dried, the background was painted.

Although I'm calling this Blue Jays in Spring, we are not really having spring - or just a few hours in between snow squalls.  This has been the strangest spring season yet for us and one doesn't know whether to put on a coat, a jacket, or a teeshirt.  I guess it could be worse.  We are, at least, not having feet of snow dumped on us (like they are in the northern plains).  I keep thinking spring will come...but what if it doesn't?  I ordered some Heirloom vegetable seeds for my Mom to plant - we may have them late this year as we are still having frost warnings at night.  OK, enough complaining.  I am lucky in so many ways and looking out on the mini-blizzard of snowflakes is actually very beautiful.

CONTINUED FIDDLING

Small changes are being made, but it's not changing much.  Perhaps I'll put it away for a while and get it out later to see what it needs.

This is the last iteration.

Think I'll put it aside for now and come back to it another time.  (You can see where I cropped off the edges, lightened some areas with oil pastels.)

DARK ANGEL

Got out my charcoal and conte pencils and sticks and blocks.  Used a fourth sheet of Arches 140# coldpress.




Dark Angel

PAPA RED FINISHED

A bright papa red bird (cardinal) in the snow.  


Are we finished with snow yet?  Maybe?

MORE SNOW, MORE CARDINALS

Yes, we got snow again.  Maybe Mother Nature doesn't know it's April?  
Anyway, with snow comes bright red cardinals.  I put out lots of food for them all but the cardinals know how good they look in the snow and are the first ones to arrive.  


Several years ago, I learned that Papa Red cares for the babies after they've fledged out of the nest - he is constantly gathering food and feeding them, and keeping them hidden until they can feed themselves.  What a good Papa!  I'm sure Mama is sharing in the duties but it's that bright red spark of color against the snow that gets the attention = so handsome!

PALIMPSEST - STAGE 3

Continuing to work this piece to see where it goes...

This one has some pastel pencil on it.
Still needs to be toned down, I think.  

(Not sure how that green, flying cat holding the blue ball got in the upper right corner??)

AND SO IT CHANGES

Using a mix of white gesso mixed with water and acrylic matte medium, I covered over bits and places on the original painting.  Then added more in using the same materials as the original painting = watercolor, walnut ink, water soluble graphite pencils, watercolor inks, etc.  Whatever comes to hand, I use to make marks and changes.  


It's still too close to the original so more changes to come.  I just want to see where this one ends when I've finished (or cannot add anything more to the paper).

PALIMPSEST CONTINUES

Using watercolor, thick, water soluble graphite pencils, resists (a white candlestick), and walnut ink, I covered the whole sheet (a half sheet of Arches 140# coldpress).


Next = to remove, add, change what's there to become something else...we'll see where the muse takes me.

PEEPS AGAIN

Calling this one

There's One in Every Crowd

Happy Easter

PALIMPSEST

Palimpsest 

start

This one is going to be a work in progress for a while, as I cover/uncover/

change/revise until I get it where I want it.

pal·imp·sest

ˈpaləm(p)ˌsest/

noun

1. a manuscript or piece of writing material on which the original writing has been effaced to make room for later writing but of which traces remain.

   • something reused or altered but still bearing visible traces of its earlier form.