Crow collaoration

I made these two drawing on A1 Somerset Velvet paper interpreting a poem based on the theme ‘Crow’ by Sheffield poet Kate Garrett. I know her through Artipeeps, the Cambridge Arts group, and our work for Book VII of Ovid’s Metamorphoses for Transformations was printed together on a card. I love her poetry and hoped she would say yes when I suggested we did our own collaboration. She did agree and has written a very powerful poem which I have been responding to over the past couple of weeks. The first drawing was made with Indian-ink with crow feathers dipped in there. I used them like pens but also turned them round so I could paint with the soft end. I respect the feathers and don’t ask too much of them. It’s all about listening to the drawing tools and media that you’re using. I went to the graveyard to watch crows but they wouldn’t let me get too close. They were attracted to the bird-feeder there, but as soon as I approach they disappear. I’m accepting their illusive quality and am listening to their cries. I can distinguish between jackdaws and crows calls now. Don’t forget to click on the image to enlarge and see the marks more clearly.

Beech Hedge sketch and large oil-pastel and pencil study

I noticed this wonderful beech hedge at half term on the twisty road on the way to Askham in Cumbria that I really wanted to make a sketch of. I’ve already shared the photographs on previous posts. I walked along the road to find the motif one cloudy morning. The colours were stunning in the little stretch of hedge. I also like the way it was not over-managed. It felt very natural. There were pheasant screeching as I drew, they must live in the wood behind the hedge. I’m sharing the sketch made on the spot stood in a gateway at the bottom of this post, then the stages of making the large study. I take my oil-pastels and am used to getting as much information and colour down as I can. Don’t forget to click on the image to enlarge to see marks and colour.

Beech Hedge shots

I’d seen this beech hedge on the way to my brother’s gallery at Askham Cumbria that cried out to be responded to. I walked back to it a couple of days later and stood in a gateway to draw it. I don’t really want to share the sketch as it may become a painting in response to my Vanaheim explorations based on Norse mythology for the Cambridge based arts group Artipeeps. I can share some of the photographs as a taster as it were. The woods were full of squawking  and squabbling pheasant. The colour was rich and astonishing. I lost track of time as usual whilst drawing until I got cold and wet because of the rain. Time to make a sharp exit back to Askham.

Windy trees on the Lonnin

There were some wonderful Scotts pines on the ancient Lonnin near my father’s house in the Lake-district in Cumbria England that mesmerised me last Thursday. It was very windy, and the branches and their pine needles were pushed in a fluid diagonal movement by the wind. The sound was enveloping as well. Here are some shots of the walk and my watercolour and pencil sketch.