I sat on the terrace of Café Douceur this afternoon and while sipping my coffee, I sketched the street. My pen ran dry on my halfway through the sketch, which resulted in some thin, scratchy lines. I hope the colourful splashes watercolor make up for it..
..street in Beulieu sur dordogne – close up 1..
Pen and watercolor in Stillman & Birn, alpha series sketchbook, 22.9X15.2 cm
..street in Beulieu sur dordogne – close up 2..
..street in Beaulieu sur dordogne..
And lastly some people sketching..done on Fabriano artistico watercolor block, 27X18cm
à la prochaine.
I have been struggling with a fatigue for a few days…it may well be the change of seasons? Just the thought of going out sketching already tires me..so I have been mostly in front of my table, fiddling with small sketches, moistly fruits and veggies, which is usually a good idea when all else fails.
I’ve noticed that I have actually never done red peppers..which is surprising. Et voilà..some red peppers for today.
..red peppers in aquarelle on watercolor block, HP, 18cmx26cm..
à la prochaine!
I try to sketch every time I sit down for a coffee somewhere in a village. Not all my sketches are worth showing. Sometimes my people look like godzillas and my buildings look like mudhuts and sometimes I just sit and mess around with colour, because I simply love color. But, in the end they all serve one purpose. To sharpen the saw.
The sketch below is from different buildings; the top one just being a little pigeonnier that serves as the entrance to a park and the other a door of the church further away.
One of the things I adore about our old Europe, is the church bells. Even here at Coin Perdu I can hear the church bells ring. Sitting in the old town centres sipping a modern Perrier, while hearing the church belles right next to me, sometimes feel completely surreal. Below is the old church in the center of Brive la Gaillarde, la collégiale St MArtin, dating from the XII th century.
Some of this and that in the street of Brive la Gaillade.
Two years ago I sketches some chestnuts in the forest. Yesterday I did a new sketch. The chestnuts are only starting to open in the forest now, but we have to be fast, before the squirrels and other chestnut lovers get hold of them.
watecolor and pen on Arches watercolor paper, 23×30.5cm
chestnuts 2(done 2 years ago)
I was enjoying a coffee in medieval Bretenoux with its lovely little cobbled squares and covered alleys. The sun was shining hot and I got tempted into a second coffee and drawing the post office just opposite me. Very lazily of course… as all sun lovers will know…the sun is a happy drug!
I added only a touch of colour, which I quite like, since the linework was very spontaneous and quirky..
pen in Daley and Rowney watercolor sketchbook
Is there any gift bigger for a birthday than a sunny day in august and a large bunch of bright yellow sunflowers? so was my birthday yesterday.
And as sketches…my sunflowers captured lazily today as I think I had too much birthday yesterday…
birthday sunflowers 1
watercolor and pen in Daler and rowney sketchbook
birthday sunflowers 2
watercolor and pen in Daler and rowney sketchbook
I have a tendency to become tight the more I work. It is just one of those inevitable things. So I often have to change mediums and styles and experiment in other ways to loosen up again. I have notice with my sketching that I have become tight again. Normally I would change to oils and go do some plein air which helps, but with the bad weather, I had to divert to other options. As I was watching the horses walking all over our well the other day, I saw a contrast of grey sky and a line of white lace flowers and the green fields and it stirred the desire to put that onto paper by using the opaque gouache, a medium I quite like, exactly for its “experimental” qualities. It opens up possibilities to take it further into oils.
The following gouache experiments were all done in sketchbooks
After sitting outside, I moved in, bringing in some of the woildflowers now in seaspon and trying to create the broad bands of colour..the greens, the blues and of course the shapes, not worrying too much about authenticity. It was all just about colour and application with a loose wrist and finally some line squiggles, which I always love. For the dark lines I initially used inks, but it didn’t work too well on top of the gouche, so I used a dark mixture(which I alwyas use in oils for black) of Burnt unber, alizarin crimson and french ultramarine which always gives a rich dark black.
with this experiment, I used the gouache much more diluted to get more “wispy” horizons as a back drop for the lace flowers. Well, I don’t know what those funny linework at the bottom is all about, but at the time I felt in the mood for it.
This was a lot of fun and really something I will explore deeper, maybe on much lager scale with oils..and added animals…Many options in fact.