I enjoyed experimenting with watercolour. I was initially worried of doing mistakes that I could not correct, but instead felt a lightness in filling large areas so fast, with a light touch of the brush, and see how I could move paint around thanks to water. I added pencil details after the paint had dried a bit, so in some areas the wet paint diluted the pencil and made very rich colours.
I’m happy with the right side of the drawing, I consider the colors right and the pencil addition quite balanced; the left side was too lightly painted and I used a lot of pencil, a bit too much. The proportions of dark and light areas on the left side are also not so similar to the picture, maybe because I started painting when I had observed the picture too quickly (especially that part).
Overall I am satisfied with this painting, it gives me a positive sensation and it motivates me to try again! I liked the speed of the paint part and the combination with pencil. The video and slides give a lot more information and techniques, so I’ll consult them in the future to pick new tips and improve. I hope I inspired you to grab a pencil and try this yourself! I’d love to hear your feedback on the post and hopefully see your own paintings 🙂
I found Wright’s book in my local library, in its German translation. It is filled with ideas for sketching, exploring new techniques and improving your observation skills. I recommend this book to all people who feel too clumsy to draw, even for themselves, and find Drawing on the right side of the brain too lengthy and too… brainy 🙂
I loved how each page captivated me with lively drawings of magical creatures, some of them trying the drawing exercises themselves in cute poses! And how to forget the full pages of his complete drawings, like this one:
The book is mostly a school for observation. There are so many issues in the drawing process that are rooted in the ordinary way of scanning the world with the eye, that is oriented to classification and not to analysis. Wright provides tips to train the eye to collect information for the drawing, and surprisingly few tips for drawing techniques. He even encourages to draw with your other hand, a hand that has had little or no training in holding a pencil – but when the eye has done his observation job well, the drawing will come out far more alive than the one made by an unschooled eye and a skilled hand. Try for yourself!
A few days ago I went to Berlin aquarium with my sketchbook, I ended up staying in for 4 hours, one of which by the Arapaimas:
They are huge freshwater fish, growing up to 2m long (exceptionally 3 or 4) and weighing over 100kg. They moved around with little or no movements of their fins, like living submarines. Many people looked at them for a minute or two, fascinated by their size, but then walked away. I decided to stay and draw them, as they moved so slowly. I was therefore able to see them interact with each other and with other fish in the pool, and had a lot of fun when they flocked to observe people who sat next to their glass for longer than a minute – it was a very slow (5min? more?) alteration in their swimming patterns, from random to focused, so that in five or more passes near the person they finally stood with their head oriented to them, in a group of six and more. One guy leaning on the glass, busy on his phone, didn’t notice the slow formation of that fish crowd until other people pointed them to him, and he turned around to see the curious arapaimas then disperse with a powerful move of their caudal fins. One fish came to me to check my drawing kit, I showed it every piece closer to the glass, it observed everything and then swam slowly away.
I tried to draw and note as much as I could (in Italian – it goes faster for me!) and, as John Muir Laws suggests, to describe details, even if they seem obvious, and note questions. For example I observed the pattern of pink spots of several fishes and imagined if it could be a pattern that changes with age. I was not able to draw the texture of fins and head, so I described it in the notes. I liked spending that time immersed in observation. It felt a way of respecting these animals, even if they are living in unnatural conditions, hopefully pleasant for them anyway.
Last weekend I visited my family and took some time to doodle.
I made a landscapeito of the lake we went to for the afternoon: I decided to limit the time to 5 minutes, so that I focused on getting the framing, shading and details right. In this drawing, I tried to make the background lighter than the foreground, a way of suggesting distance. I am not super happy with the water, but I think that I captured the essence of the scene.
My mum is currently practising guitar together with her colleague Biagio, so they invited me to their rehearsal. It was a perfect occasion to draw! I took around half an hour to make the drawing below. It was easier to draw the parts of the body that didn’t move much (right arm, shoulders), but hard to draw the head and the left hand, that moved a lot. For these parts I chose a particular position and waited for them to show it, drew a couple lines or hatching, and wait for next occasion. I learned about this technique from a workshop about wildlife sketches, where you choose several postures of an animal and work in parallel, adding details to each doodle every time the animal falls into that position. It is indeed a valid technique for any moving subject.
Last week I entered the stationery with the intention to buy a folder. I ended up buying two A4 folders, an A5 folder and 7 STABILO Pen 68 felt pens of unusual colors. Here are the first two sketches with the blue/green pens:
I like the vivid colours, and the flexibility of the pen tip. It makes it behave a bit like a round brush. The paper I have drawn on is too raw, so it’s easy to make darker spots unintentionally. I’ll try on a smoother paper and let you know! Anyway I am already happy with these first sketches.
“Landscapeito” is John Muir Law’s name for mini-landscape drawing (by adding the Spanish diminutive –ito). John succeeded in motivating me to draw more often, because this technique offers a few goals at my arm’s (or pencil’s) reach, but yet challenging enough to make them interesting. Even more important, his video gave me a lot of tips on how to spot mistakes myself, and how to avoid them in future drawings. I am so grateful that he has shared the mental paths that he uses during drawing, because it makes me confident that my own way can lead to better results.
So here is my second landscapeito:
I liked his suggestion to start with only three levels of luminosity of a single color, before using the actual colors of the landscape. The first step is using a pencil and create three shades, from light to dark. I thought that it would be simpler if I used felt pens and chose three fixed shades of a single color – in this case, blue. So out I went and found a cute little corner near the river. I started with the lightest blue and used the two others in sequence. I took time to understand which shade to use for each area, and I am quite satisfied of this first attempt, even if overall it is too dark. I actually used a fourth color, and that too has made the picture too dark.
Today it rains, so there are no chances to draw outside – but stay tuned for more landscapeitos!