Charcoal

Paperbark Tree

I like using different mediums, taking a break from graphite now and then. Still, I prefer the 'drawing' mediums to oils or watercolour. Charcoal is fun, I tend to get a bit messy but it is a good way to break my thoughts away from the intensive detail of my graphite work.

This was a demonstration peice for my final Wednesday class of this term. Sadly, all classes have been cancelled for the foreseeable future. I hope to post here regularly and hope my students will follow along.

Last week the class went outside and sketched plein air some of the lovely trees around the art center studio (actually, its a Scout hall). Most of the students chose a large, lollipop shaped paperbark tree, so I drew it as well. We took photos of the tree as well as sketching it. This week we returned inside to the studio to work up our drawing using the sketches and photos as reference.

Well... actually, only one student showed up. Due to the Covid19 scare most had stayed away. 

So I did a demonstration work with Monica - and we had a good time together!

The work is on A3 Art Spectrum Colourfix 'Rose Grey'. I began by laying down broad areas of tone using a piece of vine charcoal then smudging and working it up with a tortillion. Next came more detailed work with charcoal pencils. Pencils used were Derwent Charcoal pencils, Light, Medium and Dark grades with highlights in white charcoal. Time spent was about 1.5 hours or so.

Paperbark tree for Monica

Sepia Ink

California Blue Oak

Using both Staedler Mars and Adel sepia coloured pens on 250gsm Lana Bristol smooth paper, I created this work as a demonstration piece for my Thursday night class.

Unfortunately, due to the Corvid 19 crisis all classes have been cancelled until further notice. However, I finished the work today and am posting it here for viewing.

I used the Adel sepia pen first, creating crosshatch build up that I then washed with water to create the toned background and clumps of the tree. I did this in two stages so I achieved two depths of tonal wash. The linework in the tree was then done as hatching and squiggles the Staedler pen to create depth and detail. The Staedler pen is just a touch darker and slightly more red. Not obvioulsy so, but I felt it made a difference. The linework in the sky, hills and shadow foreground was with the Adel pen, which is very slightly finer and browner tone.

I deliberately cropped the right side of the drawing as shown here as I felt it was a bit more interesting that way. Cropped size is 35 x 24cm. I used combined references - sketches I did in California of trees, photos and internet images. So it is not any one particular tree, but a generic California Blue Oak.  This oak Quercus doglasii is endemich to the hills, coastal ranges and foothills of the Sierra Nevada.

HC at the VAS

2020 George Hicks Foundation Contemporary Exhibition

Wow! Last night I was awarded a Highly Commended at the 2020 VAS George Hicks Foundation Contemporary Exhibititon. This was a delightful surprise  - especially as I had to be coaxed into exhbiting (thank you Kris). I didn't think I had anything really contemporary enough as I am not really an abastract style of artist. But contemporary really means of the now, made today,  so I took a chance and entered my work 'Flight of the Wingnuts'.

This work was initially exhibited last year at Tacit in my solo show 'Flights of Fancy' and this was only its' second outing.
The judge was Robin Stewart, an exceptional Melbourne artist with a strong interest in abstract/figurative painting. He said some very nice things about this work and his support is especially encouraging.  He even kindly signed my award for me. 😊

HC from VAS