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Absent

I have been absent for quite some time and after receiving some very caring emails, I thought I should at least give some explanation here. 

I’ve run into some health hiccups a while ago, robbing me of all energy and all willpower to maintain or produce any kind of act, let alone be creative. Thank you for the concern and supportive emails I’ve received from friends out there. I hope to be back with full vigour and energy soon.

…”Wanna talk?”…

And now it feels very “flat and empty” to leave on a note like this, so since I am here for a whisper of a moment behind the computer, why don’t I use the opportunity and time well and fill it with nonsense… After all, nonsense is quite a creative invention. And a very creative excuse. As well as a creative brush-off: “Oh, don’t talk such nonsense!” Probably what you’re thinking right now.

While I am here in front of the keyboard, searching for the right keys after so many weeks, and for that matter, the right words, I might as well try and do it creatively or at least then, call your bluff creatively… I’m not sure I know exactly what I’m saying, but it sounds creative to me. Like nonsense, sort of. What is nonsense? Something that doesn’t make sense….surely creative then. Doing and saying the suspected and at the last minute, adding an unsuspected twist…cunningly creative. Or speaking in utter incomprehensible sentences, or talking about things you know nothing of…defintely creative! Or to shut up someone who is actually being very creative in the use of thoughts and words and you have no clue as to what this person is saying….stupidly creative.

Once, a few years back, I was in the company of interesting people (or so I thought), around a beautifully set table, sharing a wonderful meal.  As usual, I was the listener. At some stage, the conversation turned to people and bad driving skills(is it a skill?). So I thought I had something interesting to add to this part of the conversation and so added my humble and creative opinion (?): “I think women are more inclined to use their indicators than men…” and without being given a chance to explain the science behind my madness, I was stared upon with shocked horror and brushed off with a creative missile launching: “Now the only time you open your mouth and it is to talk nonsense…?” That scarred me for life, I haven’t opened my mouth since(?) until now…  “Oh, nonsense!”

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Ink exercises

I love inkwork and there are some beautiful inks around not to mention the artists that do beautiful inkwork.

I took my summer shoes to do some excercises with the inks and pens I have. Excercise 1: Summer sandals done in Gris nuage ink from J. Herbin, drawing the lines with a stylo à plume d’oie(quill pen) and afterwards I bled the lines and washed with some powerful blue Eclat de sapphire ink and a small brush. I just can’t help myself. I have to do a wash somewhere with a brush. It is an addiction. I would so love to do only beautiful lines and leave it. Maybe next time.

…the blues…

Excercise 2: A second pair of summer sandals, this time using a speedball pen and Cafe des iles from J. Herbin. Once again just dragged a wet brush over the lines to get a wash, and finished off with some black india ink hatches.

…summer swing…

Excercise3: A pair of Sperry’s…and could I explain the difference in size?  Maybe I have one big foot and one small foot…? Or could it simply be bad observation? Done in a reed pen and plume pen with Sanguine 270, from Sennelier. And after dragging a wet brush over the lines to bleed the colour, I decided to add some washes of Lie de the of J. Herbin. Finished off with some scribblings with a rotring pen, 2,5 .

…Bigfoot…

Excercise 4: Since I had now used up all my summer shoes, I had only my shoe blocks left. Linework in rotring artist pen and washed with a wet brush to bleed the lines. Then decided to splash in some colour with Sennelier’s Sanguine 270 and Lie de the, J. Herbin.

 

…in-and-out…

In the past, I have done a lot of calligraphy work, so I have many speedball pens and nibs that work wonderful for drawing. Added to that, are some reed pens(which I don’t like much), plumes/goose quill pen, which I love to work with, rotring artist pen(Fine), and rotring rapidograph pen, size 2.5.

I enjoy the inks of J. Herbin. They are rich, make for nice washes as well as lines and dry with a nice sheen. I have only recently started working with the J. Herbin inks and they are really beautiful! Wonderful for linework as well as doing bleeding with a wet brush and they are lightfast, can be sealed beautifully…in short, I have nothing bad to say about them! I haven’t yet found a nice dark burgundy red, but Sennelier’s Sanguine 270 is a nice dark red which comes close to what I’m looking for.  All the sketches were done in a spiral watercolour pad, 18x26cm (7″x10″) Fabriano Artistico CP. Below you can see part of my “ink workstation”. 

…hailing efforts…

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Sketchbook exchange sketches

Now that our Flying Pictures Project is a little further down the road and everybody involved had already seen my first sketches posted on our blog FPP, AND since I don’t have much in the form of sketches to post here, AND I haven’t been around much, I thought it good to post my first sketches that were sent off in May. With my theme being “rainbow moments”, I took the first subjects that came into my view that gave me joy and this is what shaped the first two and half pages in my book that went off to Lindsay, and has just landed at Robyn.  So, four more stops, before it arrives back home.

Edited: To see Lindsay’s beautiful addition in oil pastel, see our Flying Pictures Project .

All sketches done in our handmade concertina sketchbooks with rotring pen, pencil and watercolour.

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Bill on a bicycle

I’m doing a portrait exchange with Bill. He’s been waiting very patiently for me. Thank you Bill! See how great he did my portraits here!! Not fair that he does so well and I am struggling!

As I say, I’ve been struggling. I started off today with just a contour drawing, which got filled up a bit more than just a simple contour. Then I did another one and another…and then jumped on my bicycle and went for a ride.

contour drawing, rotring pen on paper, 29,5×42 cm

I have new bike, a very cute one. Based on the old “Hollandais city” style. Up until now I’ve used an old bicycle which had me running just as I thought I was pedalling well away. Or I was on Liandri’s mountain bike, with my behind way up in the air and my head almost down between my knees. I sort of feel at this age, I would prefer my “derriere” closer to earth and my face “lifted”. So now I look very elegant, with my back straight and my hair in the wind.

…wizard of oz…

rotring pen and watercolour in Artistico sketchbook, CP, 18x26cm(7″x10″)

When I came back, my head felt clear enough to give Bill another go.  Put in some shadows this time. It doesn’t really look like him. And before I attempt a painting, I have to get the drawing right first. He has very intense eyes and I make him glare from the page. So, I have more work to do. More cycling to do.

inkdrawing, rotring pen on paper, 29.7x42cm(11.7×16.5″)

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To take a break or not…

I’ve been away from sketching and drawing and painting for almost 4 weeks. Our Flying Pictures Project got me back into it. And I struggled. My hand felt dumb, my mind was foggy, my imagination was glum and even my committment and desire were flimsy. And that brought the question to my mind: “Is it good to take a break?”

…digging deep…

Watercolour, pencil and rotring pen on Fabriano artistico  HP, 23×30,5 cm.

It will probably be different for everybody.

As for myself and some people I’ve spoken to lately: ….to take a break, is fine. To take a long break, is disasterous. Whether it is a break from art, or work, or excercise or singing, design, or studies, or whatever. Routine sounds like a dull, boring, unartistic word. But it is in fact routine that gets us to be committed and effective, creative and original, inspired and determined. To break the routine for a definite period, is good for the body and soul. It is replenishing. But taking a break for an indefintite period can be dangerous.

Being away from art for 4 weeks, had me shying away more and more from the paper and brush. It felt too hard find the committment, the inspiration and the creativity. My excuses showed up more frequently and they got more creative in fact! I would promise myself that I would sit down for some painting an afternoon, just to quickly find that my afternoon was taken up by “a-lot-of-other-things-that-need-to-be-done-first”. Or I would blame lack of inspiration. Or even the weather.

It got easier to replace the joy of painting with other things I do enjoy. Photography and cooking. And writing. I also love gardening and designing.  But then there is my conscience. I have a terrible conscience. One that keeps me from sleeping and drives me to eating. My conscience stirred my guilt. For neglecting something that I truly love and enjoy. 

I’ve come to the conclusion that to take a break is almost like planning a vaction:

  • There is a beginning and an end in taking a break, which has to be decided on in your planning beforehand.
  • There is a “destination”; where is this break taking me? Do I want to spend more time on excercising or do I want to spend time with my loved ones..
  • “Not feeling inspired” is one of the most futile reasons for taking a break, which was part of my reason.
  • There is also a “budget” that must be adhered to. What will this break cost me? Will I not lose the new techniques that I’ve just starting working with?
  • And then there is the decision to fully enjoy the short break, knowing well when you’ll be back so as to not have your conscience breathing down your neck the whole time.

I now have to work on reestablishing my commitment,(which needs time to settle in) digging deep for my creativity(which must be excercised to surface), practice the new techniques I left hanging loose, and just start doing again without thinking…art wise that is!

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Old doors in Tours

While waiting for the car to be serviced, I wandered around in a chilly Tours early on Saturday morning. Architectural features aways catch my eye and I tried to pen down some old doors of which there are plenty in the old town.

All sketches done with rotring pen, and given some watercolour back at home. Fabriano watercolour CP sketchbook, 18x26cm.

I had a conversation with some early joggers who stopped to have a look over my shoulder… going something like this:

“Ah, vous faites les portes?” (I see you’re drawing doors)

“Oui.”

“A pity that door isn’t too well cared for.”

“Oh, that doesn’t matter, it actually gives it a lot of charm and character.”

“Yes, much like us. We also get more charming with age.”