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By: Jessica Lanan,
on 5/25/2016
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Jessica Lanan Illustration
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I’m back from my free range field test: a weekend trip to Fruita, Colorado for some plein air mountain biking fun. (If you missed the first post about all of my new plein-air equipment, you can read all about it here.)
First stop were the Kokopelli trails, which take you along the edge of the Colorado river. There are gorgeous vistas at every turn, and I hiked a few meters off trail and painted one of my favorite views of the canyon. If I’d been walking, it would have probably taken about four hours to get to this spot (and another four to hike back!) but with the bike I could get there in no time.
Most bikers on the path below didn't even see me.
The equipment really improved the experience. Not only was I more comfortable, but I had a much easier time judging color and value with the help of my shade umbrella.
The final painting
One benefit of combining mountain biking and painting was that my husband could do extra laps while waiting for me. Sometimes he had a good view of my painting spot:
See the white dot of my umbrella?
I was painting this interesting rock formation. So many holes!
So, you ask, how was all the equipment?
The Umbrella (Bestbrella white)
Pros: Provided a neutral, even light. I found it easy to set up and relatively stable. It even protected my painting against the odd sprinkle of raindrops.
Cons: I’m not sure I’d use it in a downpour or high winds, but that’s not really what it’s for. When the sun was at certain angles (like right behind my head) it was difficult to properly position the umbrella because the easel got in the way of the tripod pole. I think this is actually a problem with the tripod, not the umbrella: if I had a taller tripod I could have clamped the umbrella lower on the leg in order to miss the easel.
The Easel (En Plein Air Pro Traveler Series)
Pros: Easy to set up, lightweight, simple.
Cons: The easel is fitted with holes to hold your brushes, but a lot of my brushes are either too big or too small to fit in these. Some slide all the way down to the ferrule, while others stick out quite a bit. On more than one occasion I’d absentmindedly put down a brush only to have it slip right through.
The Stool (Walkstool Comfort)
Pros: Durable, easy to set up, pretty comfortable.
Cons: You can only use it with the legs fully extended when it’s on level ground.
The Backpack (Camelbak Motherlode)
Pros: Spacious, durable, well-balanced, lots of convenient pockets.
Cons: It’s not designed with women in mind, and was wide and bulky on me, particularly around the shoulder area. But the width makes it perfect for holding the easel, so I’m not complaining.
Other notes: It can also throw off your center of gravity while biking, which makes technical terrain very difficult. I wouldn’t recommend this for beginners. In fact, I made my husband carry it most of the time so that I wouldn’t mess up and fall off the cliff.
I'm just posing. I gave it back to him right after this photo.
The tripod (an old mini travel tripod–I have no idea what brand or model.)
Pros: Very small, compact and lightweight.
Cons: My mini tripod is clearly not meant to hold a bulky plein air easel and umbrella. It’s unstable, and is so small that there’s no way you could use it while standing. The short legs make it difficult to level on steep slopes. It’ll do for now, but I’m going to start saving up for something a little more versatile for the future.
We also visited 18 Road, on the other side of the valley.
Conclusion:
All in all, I’d call it a success! If you’re thinking of doing more “free-range” painting and are hesitating about investing in equipment, I recommend that you go for it. No matter where you go to paint–be it far off the beaten path or as close as your back yard–it’s a fun challenge and a great way to improve your painting skills.
By: Jessica Lanan,
on 3/3/2016
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Last weekend my charming assistant/husband helped me film this time-lapse video of yours truly painting a watercolor landscape. He also edited and produced it for me. Thanks, Jonathan! This is my first attempt at filming and isn’t my best landscape ever (the composition could be better) but it shows my painting technique and it’s (hopefully) interesting to watch it all come together. And without further ado, a painting from start to finish:
For the curious, pigments include:
Payne’s Gray, French Ultramarine, Prussian Blue, Sap Green, Quinacridone Gold, Yellow Ochre, Pyrrole Red Light, and a touch of Quinacridone Magenta, probably some other stuff.
Brushes:
Synthetic 1″ flat, Winsor & Newton sable flats in 1/2″ and 3/4,” Raphael Sable round #4, Winsor & Newton rigger
Paper:
Hahnemuhle “Turner” watercolor block, 24×32 cm
By: Susan Swan,
on 10/13/2015
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the dust of everyday life
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Rejected wrap around cover for PICK A CIRCLE,
and below, final front cover.
PICK A CIRCLE, GATHER SQUARES - written by Felicia Sanzari Chernsky,
illustrated by Susan Swan
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By:
andrea joseph,
on 10/9/2015
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Hello, it's me and I'm blogging and I'm still doing daily inky things for #inktober. Yesterday I did inky things up a mountain. Or a Peak. On Kinder Scout to be precise.
Landscape probably wouldn't be my subject matter of choice, but I'd never rule any subject out. These days I love to tackle something I wouldn't normally tackle.
But I don't really know how to approach landscapes, that's the problem. Or the challenge.
So, I approached these rocks and this landscapes in the way I know how, by seeing them as a 1950s textile design. Did it work? I dunno.
To be honest, I don't care. I had fun trying. And that's what #inktober is about for me. That's what drawing is about.
While I am away on my Denver adventure, I thought you might like to see some more of the sketching I did on my week off in the Lake District. With everything that I have had going on recently, I haven't had time to scan anything, but luckily I remembered to take photos of quite a few, in-situ. It is fun anyway, to see the sketch against the subject matter.
The whole time I was there, I was struggling against what I considered to be too much like realism:
...as opposed to my attempt at a more expressive abstraction of what was in front of me. It swung back and forth, often to do with how warmed up I was (in both senses of the word - it got jolly nippy up on some of those hills!)
I took some charcoal and a hardback, A3 cartridge pad as well as my paints. It was a welcome rest in some ways, to be back in my comfort-zone a little more, drawing, rather than painting. Very messy business though!
I tried the same view in paint, with a touch of watercolour pencil, for definition. This is in an A4 pad:
We finished the trip at Wastwater, which is my favourite lake. It's possibly my favourite place ever. There's such wild and windswept drama to it, with a thrilling atmosphere of foreboding created by the ridiculously high scree-sloped which plunge down into the dark, deep water. We didn't get there until our final afternoon, as you have to go a very long way round to access the valley - there's just the one road in, which grinds to a halt when it hits the mountain at the end of the lake. It's partly that remoteness though, which keeps it a bit special.
I had never seen Wastwater as beautiful though, with the low sun picking out all the contours and lighting up great patches of purple heather. I wanted to stay forever, but we had to start our drive home...
John and just got back on Sunday, from a smashing week away. We rented a static caravan on a tiny farm in the Lake District, to coincide with the deadline for my sketching-people book. I thought it would be great to get it all done and then go away, feeling cleansed.
Unfortunately, my publisher was behind schedule with the last stage of the book, so things didn't quite work out as planned. I was still getting pages coming through to work on, right up to the last minute. Even then, my designer didn't manage to get it all to me in time, so there were still a few spreads left hanging...
I felt okay about it though, because the delay was not my fault, so we went away on schedule and left it all behind. It was great actually, because there was no signal where we were, so I couldn't even get emails. Enforced relaxation.
Except, I don't really do relaxation, as such. I can't sit and chill: I have to be doing something. Which is why I had packed about 6 different sketchbooks and all my painting and drawing kit. The plan was for John to go out walking, while I sat on various hills and did my thing. Sometimes we went off for the day together, doing walks with lots of quickie sketching stops, where I whipped out my trusty Inktense watercolour pencils and waterbrush:
The weather forecast was pretty appalling (especially for a sketching week): torrential rain for at least half the time and some really gusty winds. In the end though, we were really lucky. Most of the torrents happened during the evening or overnight.
We even got a couple of days of gorgeous sunshine. Much of the time though, I was wrapped up in layers, hunkered down against the wind. August in England! The dodgier days made for more dramatic skies though:
I never cease to be amazed by the Lake District - so gorgeous. It can be crazy-busy at peak period, but it depends where you go: we were tucked away in the western Lakes, near Coniston, and it was wonderfully peaceful:
I will show you some more later, but I really have to get back to work now as I am off to Denver VERY soon!
detail of a larger watercolor work-in-progress. I find that I have to let my work "rest" while I work on another piece. I'm pretty excited about this one, but I want it to "rest" a bit until I return to it. More of my artwork can be seen on my
website and my
Etsy shop
If you're a watercolorist or just someone who likes dappling in watercolor, and you would like to join this site and share your work, send me a link to your blog or website in a comment, and I'll add you to the site.
The weather forecast for last Sunday - SketchCrawl day - was for it to rain overnight, but be dry all day. It was raining when I got up and still raining at 9 o'clock, when I got to the station. Hmmmm...
I met Oliver, another sketcher, on the train. We both agreed it would clear up soon. Our optimism was rewarded on our arrival at Edale Station, where we also met two new members, Katie and Isabel, along with Archie, the dog. Undeterred by the low turn-out, our compact band of four set off for the hills. We got 100 yards and it started to rain.
Luckily, because we hadn't got far, a little cafe presented itself and we dived in. With huge self-control, we ordered tea, but none of the home-baked scones or flapjacks. It was still warm, so we took Archie out into the covered garden at the back, where I christened a brand new concertina book I had made the day before, by quickly painting the trees you can see above.
The sun came out, so we ventured forth once more. Guess what? Yep. It was only spitting though. We were intrepid, we didn't care! But the trouble with Edale, is that it is mostly bare hills and no matter how intrepid you are, you can't use a sketchbook in the wet. After a while though, we found a couple of twisty trees, which gave some shelter, and set up camp.
The great thing about dodgy weather is the sky. I had chosen a spot which gave us a panoramic view of the hills on either side on the valley. The light was constantly changing as huge, threatening clouds slid along the horizon. It was all very dramatic. The rain stopped again. Despite the very ominous skies that came and went, it remained dry for the rest of the morning. I painted like a demon. I love it up there.
Unfortunately, it was getting quite windy and we were all getting rather chilly. We gobbled our packed lunches, managed one last quick sketch, then headed back down. Close to the station there is a pub. It was raining again as we queued at the bar, but had stopped by the time we got our coffees, so we braved the beer garden with its lovely views. It was much warmer down in the valley.
Lucy and Isabel headed home mid afternoon, but Oliver and I were back in the groove and kept scribbling. Oliver caught the 4.30 train back to Sheffield, but by then the sun was out, so I stayed another hour and drew some houses behind the pub:
I walked up to the station for the 5.30 train, but the views from the platform were even better than the views from the pub. The train pulled in. The hills looked at me with their gorgeous end-of-day shadows...
What's a sketcher to do? I let the train go and got out my paints again. I stood on the platform for the rest of the hour, painting the one above. I had to start a new book as I had filled the forts one. I finally heading back to Sheffield on the 6.30 train.
When I got home, I laid out everything I had done and was astonished at how much I had managed:
As you can see, the largest of my concertina's fell in half - it didn't like the dampness and, more than that, didn't like the fact that I had made it at speed and so used Pritt-Stick instead of PVA for the joins (note to self).
Phew. I need a lie-down just looking at all that work!
I thought you might like to see some more of the work I have been doing out in gorgeous Derbyshire landscape.
Yes, I went back to Winnats Pass a week after my last excursion, to have another go. I started with the drawing above, warming up with good old charcoal and a skinny stick of black conte, for the finer mark-making.
It wasn't an official SketchCrawl day, but I let people know that I was going, so was joined by a handful of other sketchers, who popped in and out during the day. Nice to have the company. We were all taken by this particular view - stunning stuff!
After lunch, once familiar with the lie of the land, I tried the same view again as an experiment, using Platignum writing ink (very water soluble), lots of water sploshing and then a wee bit of watercolour. The light had changed a bit by then though and we had lost those lovely long stripes of shadow:
I was interested in keeping the view basically representational, but creating a more abstracted and expressive interpretation of the shapes than the more literal drawing at the top. I got ink everywhere though, especially since the plastic pot I'd put it in had leaked. Black fingers again.
I did a watercolour next, from slightly further into the valley. I am still not entirely happy with the watercolours and very much still learning. The Peak District is the perfect place to practise though. So many beautiful shapes:
I was looking for a different view to finish, but didn't have time to climb to the far end of the valley and look back down, like I did last time, so I scaled the left side, to higher ground. There wasn't anywhere even vaguely flat to sit though and I had my work cut out, just stopping myself from sliding back down the steep slope! My rucksack kept trying to tip over and roll back down into the valley and I was sure that at any moment my brushes, water or palette would tumble away from me.
I managed to get a painting done before any mishap, though my poor bottom was totally dead by the end:
I am still learning how the watercolours work at this scale - it's very different to using them for the smaller urban sketches I am more used to. It was the patterns in the landscape which I was excited by. For me it is all about exaggerating shapes and pulling out colours, playing with marks and textures. Perhaps my early textiles training is still in there somewhere, trying to get out!
Here's how this one looks against the reality:
John had dropped me off in the morning and then spent the day hiking around the hills in the area. He arrived back in the valley while I was half way through this last painting, at the end of the afternoon, ready to take me to the pub for a well-earned dinner.
Another lovely and very productive day.
I have been more or less padlocked to the computer during the week, which is really frustrating on sunny days. So, when I saw a forecast for particularly lovely weather, I decided to sneak a day off to go out sketching in the landscape. I knew exactly where I wanted to go:
Well wouldn't you? Isn't this an amazing photo by the way? The sky doesn't look real, does it?
John and I had already hiked through Winnats Pass, in Derbyshire, one Saturday afternoon recently. It was windy and cold that day, but the light and the shapes were so extraordinary, I had to sit down on the spot and do a quick sketch:
This time though, I could relax and luxuriate in the sunshine. John dropped me off and went on a long walk while I settled down to try and capture the fabulous sharp shadows. I took A3 sketchbooks, because it's such a massive landscape. It's very unusual too, because the really rugged crags are up close on both sides, giving you the ability to see detail and grandeur all at once.
This is my favourite from the day I think. I tried all different media, but compressed charcoal seemed to really get across the contrasts:
I tried watercolour, but couldn't seem to get the results I wanted. I am really still learning how to use paint, whereas I am totally comfortable when I am drawing. This is my first attempt. It started out quite interesting, but got a bit flat as I worked into it:
I tried again. The second one has kept more spontaneity, but still doesn't do interesting enough things or properly exploit the effects of the watercolour:
I did various other sketches in charcoal, getting black ingrained into my fingers and fingernails...
...but I also tried experimenting with watercolour pencil to add definition to the paint and combine the different sorts of mark-making:
I tried using my Sailor pen, but the line variation which I love so much is not as powerful at A3, so it couldn't hold the page without colour, which definitely helped:
It was a really enjoyable day. Even when things weren't going quite right, it was impossible to get grumpy! It is such a magical place, I will have to go back again. I've really only scratched the surface.
By: Metin Seven,
on 4/7/2015
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Sugar Frosted Goodness
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Desert scene in a minimalistic pixel art style, for a Talk Retro site redesign.
Available as a high quality art print.
More images: MetinSeven.com.
Okay, so I'll post some work from old to new. Day 1 - Some work from early in my career.
Here's something to fit the landscape theme, or city scape in this case. You can tell it's an old picture as Tokyo Metro underground changed their logo many years ago!
This is pushing the idea of 'landscape' a bit, but technically it fits. I tried to make these cookies look like an old ruined arch, out in some bleak landscape. And . . . clouds!
 |
| Click on image for larger view |
This landscape scene is from
Sunny Bunnies which was originally published a few years ago but it is a 'landscape' image I am still fond of. I particularly like the night-time blues, and the friendly lights of the car making its way home through Carrot Cake Park.
Materials: Dip-pen ink outlines on watercolour paper, coloured with watercolour paints and coloured pencils.
June Goulding
Hope everyone had a wonderful holiday and a very happy 2015
Jill Weber
By: Cathy Morrison,
on 1/4/2015
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I have a lot of books that fit under the theme "landscape" so here's some more artwork. This is from
Pitter and Patter, written by Martha Sullivan, published by
Dawn Publications, and illustrated by me, Cathy Morrison. It comes out this spring and is about the water cycle.
This is the cover art for an upcoming book that I just finished illustrating. Had lots of fun with this one!
By: Steven James Petruccio,
on 1/1/2015
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Johnny Appleseed
Steven James Petruccio
Opening spread from Johnny Appleseed for Scholastic, Inc.
Watercolor on Arches Paper
Lake at Night
Steven James Petruccio
Natural Science book for Parachute Press
Watercolor on Arches Hot Press Paper
This is a suburban landscape similar in many ways to the one where I grew up, in Levittown, New York. It will be in the book we are working on now, Anne of Green Bagels. It is an easy coloring job because, apart from black, there is only one color.
Amy Huntington
https://amysfieldnotes.wordpress.com
Our theme for January is Landscape so here you go. These are from
This Land Is Your Land, a picture book about land forms. It's by Catherine Ciocchi, published by
Arbordale Publishing and illustrated by me, Cathy Morrison. You can see more about this and other projects on my
Studio With A View Blog.
Happy New Year and thanks so much for taking a look!
By: Metin Seven,
on 12/9/2014
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Metinseven.com wishes you Happy Holidays and a pleasant 2015!
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