To start this exercise there feels a need for some inspiration in finding a subject matter.
This comes from David Hockney as he “shares exclusive art from Normandy, as a respite from the news “.
“In a BBC exclusive at the beginning of April 2020 he shares 10 of his most recent images (including one animation), nine of which have never been published before, for us all to enjoy at this difficult time, along with his thoughts on the role of art in life. “
The article explains:-
And here is a black and white copy of one of his recent spring paintings of daffodils by David Hockney:-
I really like this painting, lovely 3 D quality and solid and vibrant.
So this is my inspiration and my neighbour’s daffodils I can see through a window.
I am following the instructions in the coursework creating my own sketchbook out of coloured and textured papers – cartridge paper, printing paper, Japanese papers, watercolour papers, drawing papers and papers from an old photograph album. This in itself is liberating, rather than using a ready made sketchbook. It feels less daunting to use than a pristine book.
So I start in my comfort zone using a rotary pen as a sketch:-
Then with felt tip:-
I try some angled lines for the shading and the grainy quality of the Japanese paper adds some texture. However the felt tips are quite dense and the overall effect lacks the light of the flowers.
To experiment more with the light involves brighter paper and lighter mediums of watercolour :-.
Then crayon:-
With the crayons I do more cross hatching for the paving and the wavy lines of the stems allow for some movement to depict the sunny breezy day.
I now choose a darker piece of sketching paper to have a go at a chalk picture:-
The chalk does not seem to hold on the paper. I try smudging however it just powders so I return to making strong marks then quickly spray it to keep it in place. However the chalks I have are of a limited colour. It does give an ethereal effect however I move on to try charcoal instead:-
It is at this point that I begin to relax in this exercise. I am now instinctively applying the charcoal, moving it around and blurring it into the paper for shading, using the tip of the charcoal for lines of the stems. Then yellow chalk highlights the flowers.
By now my “mobile” studio is chaotic, palettes, brushes, mediums, sponges, shells, pencils, pens, pegs, cardboard, rags, pots, lids, etc. all strewn, muddled about on surfaces, sinks, tables, – it is now a case of “whatever” – let’s just pick a textured cotton paper and paint with acrylics. I dip a wooden stick in the colours and all beach findings become my brushes -types of shells, pebbles. I move and scrape the paint around. Then a dry brush for the (sky) :-
This becomes an impressionist response and feels like a painting equivalent to a mood board.
Now I try a smoother piece of paper. The paint does not hold so well and there is no definition however a conte crayon adds the features of the daffodils and curling lines give shape. I begin to appreciate the strength in these stalks and wavy flowers so flexible in their environment. The drawing across this paper is a gliding movement like the flowers themselves.
As a final piece in this experimentation, I return to a more detailed depiction of the daffodils with use of traditional drawing paper and mixed media of acrylics, watercolour and felt tip. A quick application of watercolour for the background, then use of acrylics for the stems, and details of felt tip to the flowers.
This is an enjoyable exercise and very freeing. Gradually the initial small ink drawing has grown to an expansive use of media application. I now understand the subject matter to know which medium to apply where ie, the watercolour to bring in the light, the acrylics for the strength of colour in the stems, and the felt tip to emphasise and give detail to the flowers.
Adelaide Art 