Hi to all. I do hope your Christmas break has been relaxing and you are once again immersed in your art, work, reading, or whatever moves you most. While our holidays are behind us here, there have been many disruptions to my intended outpouring of my art and writing project. I decided this week to give you some idea of why I’ve stalled on my most adventurous art project yet – a graphic novel. I decided to write myself back into this project, and here is some of what I wrote…
Last week I was reminded of my sketch trip to Spain in 2019, and I went looking for the sketchbook I’d used at the time. Previous to leaving, I’d joined a travel sketching group, and in preparation we were asked to choose something to sketch from a favourite place we’d visited. So I chose a photo taken twenty years earlier from the cathedral Sagara Família in Barcelona.
I was high in a tower which overlooked the city and focussed on the sculptured doves in front of me. I used water-soluble ink for the foreground. It’s wise not to load the brush with too much water when you pick up the ink pigment. I used a diluted watercolour for the background.
Some Images from the sketching trip to follow
Recently I began helping out at a second-hand bookshop, and came across Memoirs of a Geisha, by Arthur Golden. The title was familiar, but after reading the foreword, decided I’d missed reading it somehow. It was published in 1998, three years before I went to live and work in Japan.
I knew little of the country when I arrived, but when It came to time leave, the place and its people were a part of me.
I made close friends, and was invited into their homes, to enjoy meals, attend art classes, and cultural events – such as New Year celebrations and rituals. These memories floated through my thoughts as I read Memoirs of a Geisha.
Last time I talked about my memoir with pictures, I showed a few pencil sketches of some pages I had nutted out. I have now sketched more pages, attempting to make a storyboard of the tales I wished to tell, or portray. This bit was easy. I love sketching in pencil and plotting scenarios based on my experiences when young, that was no trouble what so ever.
I studied other graphic novels to get a feel with how I wanted mine to look: a mixture of double pages in colour or black and white, and several pages with smaller images, as you might see in a comic, with speech bubbles etc., But then, I decided I should do at least one trial page in full colour as I imagined the larger pages should look. But, what medium to use?
As I mentioned in my last post, Thursday would be the last of four Life drawing sessions held locally. Again we started with numerous quick sketches and we were encouraged to keep to pencil throughout. But I couldn’t resist using willow charcoal for a few the poses, as I particularly like the medium. I did use pencil, but it didn’t respond so well to the reasonably thick cartridge paper I had brought with me. The above poses were only a couple of minutes long, and are mere flashes of line on paper.
I went to my first Life Drawing classes aged fourteen with my dad. My brother and sister also attended at various times too. Dad was passionate about art and thought one of his children might catch the bug. However, I was the only one who ended up at art school, where I continued to sketch the figure. It was something I loved doing then, and have continued doing from time to time, ever since.
The above sketch was part of an exhibition of my figure studies completed that year. I hired a model, and worked in a studio above my garage to produce the work. It was great to have a comfy sofa the model could relax in, which resulted in many nice long poses. All the work sold, which was good, but when I realised I wished to keep one (the above image) for myself, on enquiry I found my agent had sold it that very day. Lucky I had taken a photo.
You may have thought I’d never get going on this idea of a memoir of me as a youngster. True, I didn’t get far, but there were other things I had to do. But now I have looked through my initial rough sketches, and have decided to show them to you, I feel it is a small start. My plan, from here on in, is to complete a couple of images in colour on good paper, using watercolour and pencil, as a trial for the finished product. Today however, it’s just more pencil roughs. Except for the photo of me, left, taken on a Brownie camera in the 1950’s. Yes, I’m that old.
This week I started in on some pencil roughs intended for the future graphic novel. Everything is guesswork on my part, completely experiential, as it’s the first time I’ve embarked upon this genre. Over the months I have picked up and examined many graphic novels, by women, mostly. This has been such an interesting exercise, as they are so different from each other and all brilliant.
The final class was cut short, as we were to be given a talk about the painting by Charles Goldie, which is where the classes began. To recap, we were handed a copy of the painting and were asked to copy it. But what I never realised until this talk was, that Goldie had copied his La Femme au Bain, from an original, for on the bottom of the painting it reads ‘after’ René-Xavier Prinet. Both artists studied at the Académie Julian in Paris around the same time. So, I had made a copy of a copy. I didn’t know what to think. I guess seeing both men could certainly paint, I must have learned something through close observation.
Last week I started to work on an invented background for my painting, as the room lacked ambience. Once home I spent some time trying to improve on the colours and build more interest to the painting as a whole.
First thing was to correct the position of the right leg. I was still struggling to get the thickness of my paint as I wanted, and it always seemed to come out too thin even with medium. Never mind I told myself, I can always let it dry and add more layers.
And so, that’s what I did. At least by the time I’d put the canvas aside I could say that I almost liked it. But there was a way to go.
ARTISTRY 