Category: #uskbcn2013

Around the World Blog Hop

2/2/2015

The questions and my answers:

With Béliza in Buzios, Brazil.

I've been invited by Béliza Mendes to participate in the Monday Around the World Blog Hop.

Béliza and I first met and the Urban Sketchers Symposium in Barcelona and then again at last year's symposium in Paraty. I was very fortunate to spend a few days with her prior to the symposium exploring and sketching another Brazilian town, which was a great way to warm up for the intensive sketching that occurs at the symposiums.

How does Around the World Blog Hop work?

Every week someone is nominated to answer a few questions about their creative process, post those answers on the following Monday and nominate someone else to do the same.

Click on any image to enlarge it.

What am I working on?

This year is turning out to be a time of experimentation for me. I have been employed as an art tutor for the charity WEA and my first course this year is back at the homeless café Sanctus teaching Mixed Media. As this is not my area of expertise I have been experimenting with texture, collage etc.

Recently, I took a workshop in etching, which I haven't done since art college, and I can't wait to get back in the print workshop as my head is full of ideas. You can read about the workshop here.

How does my work differ from others of its genre?

I am a pen and ink artist specialising in drawings of buildings, landscapes, boats, portraits and more. Very few people work primarily in black and white like I do nor with the detail and interpretation that I bring to a subject.

This is an example, Al Minsefah Doorway, which is part of my popular Decay series drawings. More here: Decay Series.

Al Minsefah Doorway. 2013

Into the Shadows. 2014

Why do I create what I do?

I have always drawn and from an early age I was aware of a pen drawing of my grandmother's farm hung in my parents' house and I wanted to be able to copy it. It was at art college that I really focused on drawing with all types of ink pens. I mainly had to teach myself the techniques through reading art books and emulating artists I liked as the majority of my lecturers were painters. A college printing course, where I first learnt to etch and yearned to be the next Albrecht Dürer, was a great influence too, but at the time I found the process too slow and liked the relative immediacy of drawing with pen & ink better.

I choose subjects that appeal to me and themes have repeated throughout my career such as decaying buildings, wood and rocks, which all lend themselves well to the medium. Travel and culture is a big part of my life, and these are also reflected in my drawing subjects.

However, my world is not only black and white. As an urban sketcher, I often add watercolours to my on-location sketches.

Sketched on location at Souq Waqif, Doha.

How does my creative process work?

I always have a sketchbook near me, although I do not sketch daily, I use it and my phone to record things that catch my eye, from the shadows on trees on a dogwalk to the interaction between people in a coffee shop. From those on-location sketches and/or photos I them compose a drawing, chosing the focal point, what's needed to give context, what to leave in, move position, or take out. Each drawing is not a copy of a single image but an amalgamation. For example,

Sketching on-location at Muscat Festival.

One of many reference photos taken.

The Woodsman. Final drawing.

That brings me to the end of this meme's questions. If you have any comments, or further questions, please leave them below.

Finally, I would like to nominate Kris Wiltse, www.drawingsfromlife.blogspot.com to post next Monday. Kris does amazing watercolour sketches and inspired me to sketch directly in paint as seen in my skaters here. Don't forget to pop over to see Béliza's post and others in this blog hop.

Preparations for the summer

24/5/2014

Ghala Industrial Estate, Muscat

With only 8 sleeps until I leave Oman for the summer, I'm busy sorting out my art equipment to pack. I wanted another yellow and have to thank Liz Steel (www.lizsteel.com) for her great advice. Until I can get to a decent art suppliers, I've raided the Van Gogh watercolour set, which was a gift from last year's Urban Sketchers symposium. I want to test drive some colour choices... I prefer to spend time sketching than mixing colours... plus I've evicted the Winsor & Newton Payne's Grey tube squeezed into an empty halfpan (left of photo) to try the Van Gogh version.

I've had this watercolour box since art college

Having added new colours, I wanted to paint, so took my sketchbook and paints to the day job. During lunch I sketched from an upstairs window. I didn't realise until I sketched this view, that the cement factory is on a different level. That's the beauty of urban sketching, you really see details.

I discovered that the Van Gogh Paynes Grey's pigment is less blue than the W&N's. I need to do some more paintings to decide on my final pan, but do like the blueness of W&N.

Which do you prefer? W&N, Van Gogh, or someone else's Payne's Grey? Please tell me in a comment.

The end...

21/3/2014

Another strange shell. Inktense 21/3/14

Degas. Inktense. 21.3.14

Of another sketchbook.

Unusually, I've been using a lot of coloured pencils recently. Maybe because they give me the flexibility of graphite but without the option to rub out errors, as with ink.

Next, I am moving out of my normal comfort zone and not starting another Daler Ebony A5, but the A5 Stillman & Birn I got given at last year's Urban Sketchers' Symposium. I'll let you know how I get on.

Mine 14.3.14

Degas' 14.3.14

Coffee shops

2/9/2013

Location shot through car window

On Saturday, I started the concertina Moleskin that we got at the symposium before Sketch Muscat 8. I've decided to record Muscat coffee shops in it. The Muscat Gate Coffee Shop is past the airport behind a garage (filling station). All the business I observed was of people driving up, a waiter passing a bag of food through the car window, and them driving off to eat/drink at a different location. Many just tooted their horn and a waiter scuttled over with a bag, so I assume they had phoned in their order prior to collection.

I found the Moleskin a little problematic for a couple of reasons. First, a mental struggle with myself as I do not use the first page of a sketchbook and had to force myself to start there. Next, I found it a little difficult due to the concertina of the pages behind. However, as I already know which coffee shop is going on the next page, I will continue with this mini-project.

Next, it was onto Sketch Muscat 8, a sketching event I had organised. Although I'd arranged the Muscat Sketchers to meet in Costa's, I didn't add any more drawings to the moleskin. Eight people turned up to sketch plus Pari's daughter and we had a good mix of nationalities: Omani, English, Indian, German, Kenyan and Filipino. I took the opportunity of eating some cheesecake as it looked a great subject to draw - that's my excuse and I'm sticking to it. I also did a café scene sketch, but didn't get very far with it.

Thanks Aziz Al Hahdhami for the cheesecake photos.

Continuing the momentum

6/8/2013

La Sagrada Familia, ©Sue Pownall

Several of us wanted to see the Sketching Barcelona exhibition (by Miguel Herranz, Lapin, Sagar Fornies, Òscar Julve, and others) and to sketch in Bari Gòtic or El Born and so met up the next morning. After the exhibition, which was amazing and inspiring, we went to Granja Dulcinea a xocolateria. Shantele and her partner ordered churros with their chocolate. Kindly they didn't eat them whilst I drew them. I couldn't draw my chocolate as I drank it. I was very impressed as Shantele didn't have her sketchbook with her but soon adopted the suggestion of drawing on a serviette.

The above photo was taken by Chris, the only non-sketcher whilst he was waiting to eat the churros. It shows Alissa, Chris H, Shantele with napkin, myself, Dave Black, & Yvonne sketching.

Reflections. Watercolour moleskin ©Sue Pownall

Afterwards, Chris, Alissa & I walked into El Born district looking for subjects. I left Alissa sketching a door and Chris found an alley she wanted to do. I wandered around a while longer before I saw a distinctive window in a plaza. Luckily, there was a bench across the way and I took out my new watercolour moleskin (given on Virginia Hein's workshop) and tried to capture it. I'm quite pleased with the results and it is not as wonky as the scan implies - my bad photoshop stitching is partially to blame. I can't believe I tackled something so challenging; I think it's partially due to confidence gained from the symposium and a big improvement on how I felt at La Sagrada at the beginning of the trip. Unfortunately, intimidation reset-in later in the day when a lot of us met at CCCB'd cafe and everyone was drawing everyone else. It did make me smile when I asked to see the amazing Luis Ruiz's sketchbook and he said "it's only workshop drawings", just like I had done moments earlier to someone else.

Tapas. A5 sketchbook. Ink & watercolour

When I finished the window it was lunchtime, so I went to a tapas bar I have visited before. It's slightly expensive but very tasty. I sat at the counter and ate a tapas whilst drawing another. Not liking stuffed peppers, I was able to draw that from the plate near me.

The next day, before checking out of my hotel, I went back to La Sagrada Familia. As it was only 9am, there were very few people about and I found a bench with a great view. There's a very heavy influence from Norberto Dorantes as I experimented more with non-waterproof ink. It's also inspired by the work of others on the symposium. I am very pleased with this sketch, so it was a good way to end. All too soon, it was time to head to the airport for a week in UK, and to start planning my return to Barcelona.

La Sagrada Familia moleskin sketchbook.

All over far too fast

5/8/2013

Arc de Triomf. Pen & watercolour ©Sue Pownall

Proud of my 4 lines

Waking up on Saturday morning, I couldn't believe it was the last day of the symposium already. After the panel, I gathered for my 5th and final workshop, Barcelona Perspectives with the architects Florian Afflerbach and Arno Hartmann. The group caught the metro out to the Mies van der Rohe Barcelona Pavilion, where, after a demonstration by Arno & with help from Florian, Alissa and I very carefully drew 4 lines in 25 minutes.

I studied and used perspective back in college and still apply it to some drawings, BUT never with my urban sketches. It was enlightening! Alissa and I did get the basic 2-point perspective finished and I for one felt I'd achieved a lot.

Bottom: mine Above: Florian's 2 minute demo :)

1-point perspective of Mies' pavillion. ©Sue Pownall

Next, we moved into the building to draw it with 1-point perspective. This was new to me, or completely forgotten, and ended up as my favourite workshop drawing from the whole symposium. It was also the best workshop I attended and left me buzzing to try more. Thank you both Florian & Arno.

Back at CCCB, I attended Fred Lynch's fantastic talk, then headed for the metro to join WWSketchcrawl #40 and the end of the symposium. I have never seen so many sketchers in one place - it was amazing! The symposium participants and organisers were joined by the off-symposium attendies, and local sketchers. Numbers vary but the paper said there were 500 sketchers!

I couldn't wait to start drawing, so once the photos were taken, I attempted the Arc de Triomf itself. Thanks to James Richards, the crowds weren't daubting to draw and I am very pleased with my result (top). There was some great music nearby, so several of us drew the buskers as we enjoyed it. When we gave them some change as thanks (great subject & music), they asked to see our sketchbooks and clapped us as we had clapped them.

Gadjo at Arc de Triomf.

Finally, we headed back to CCCB for the closing ceremony sniff sniff. I'd managed to get a copy of Nina Johansson's book and she kindly signed it for me, which is a fabulous souvenir of both the symposium and last year's trip. Another fabulous souvenir was Florian's drawing of the Mie's Pavilion, drawn whilst I was sat next to him, which I got in the silent auction.

and then the rain came...

3/8/2013

From Panaramas in light and shade.

Melanie talks about Picasso as we shelter from the rain.

In the afternoon of the 1st day, I attended the workshop of an illustrator I admire, Melanie Reim. Sitting in CCB's patio she talked about Picasso making marks as an introduction to Channelling Picasso; the theme of the workshop. Then the heavens opened and we took shelter under the umbrellas of CCCB's cafe and continued the workshop there.

The rain didn't abate all afternoon, and disappointingly for me we stayed at the café drawing each other in various Picasso like ways (or not as mine seem). I'd been looking forward to sketching in Pla de la Boqueria on the Rambla as I spend a lot of time drawing in cafés here in Oman due to the prohibitive heat.

Capoeira my-style.

I have to confess I felt disappointed with my drawings from this workshop, but as lovely Liz Steel said at the drink and draw, we don't know what we get from a workshop until we apply it at a later date.

Still feeling a bit out of my depth, despite the successful morning, I didn't do any sketches at the drink and draw, but chatted to a few people before heading off for dinner. On my way to the metro, I heard/saw a great capoeira troup and cheered myself up with a non directed sketch, my-style.

The following morning, after the panel discussion, it was off to Plaça Catalunya for James Richards' Life between the buildings workshop. This was a workshop I instantly recognised new information that I could use in my sketching, and did on subsequent days. The actual drawings I produced for the workshop aren't good, but I learnt so much that it doesn't matter!

Kumi & I by Pete Scully.

After lunch I attended a talk by Miguel Gallardo, someone I had not heard about beforehand, but he left me in awe, inspired, and emotional afterwards. Then it was on to Virginia Hein's workshop Panoramas in light and shade. It was held down pass Colom at the Maremàgnum, an area I've not seen before.

After the workshop, I went to the drink and draw and was immortalised by Pete Scully, which was flattering.

To be continued...

Barcelona urban sketchers' symposium 1

30/7/2013

My final drawing on Noberto Durantes' Dynamic ink workshop

I have to start by writing a big THANK YOU to the organisers of this year's symposium. What an amazing event they achieved in Barcelona this month! Also, I'd like to thank everyone involved from interpreters to instructors and especially everyone who participated. The symposium was an amazing experience! The best part, for me, were the participants: meeting face-to-face and sketching with people who have been bloggy friends and contacts for years; re-meeting the Barcelona sketchers I drew with last year, and making new friends.

Pre-symposium sketchcrawl. Watercolour & ink A5

I arrived in Barcelona the day before the event, very stressed by the events of the last few months, dumped my bag at my hostel, and dashed to Sagrada Familia to join in the pre-symposium sketchcrawl. On arrival - I froze! I drew there last year with +Nina Johansson, and some of the Barcelona sketchers, so in theory the structure shouldn't have been terrifying but seeing the mass of sketchers and the quality of their sketches and paintings made me panic. I started chatting to +Simone Ridyard whose work I've recently started following and sat with her to do a bad watercolour sketch

The first morning, I was still really very nervous, especially seeing everyone (so it seemed) sketching all around me at registration, so my sketchbook stayed firmly in my bag. My first workshop was with +Norberto Dorantes whose work I really admire and was the first workshop I wanted to do when it was originally listed at the beginning of the year. Norberto was amazing, explaining everything very well. I had some pen issues - my non-waterproof ink was actually waterproof and the cartridge I tried still wouldn't bleed - but got lent one to use.

Dynamic ink: Carrer Comtal for Norberto

Dynamic ink: People

I enjoyed every minute of the workshop, once I had a pen that worked, and wanted it to be longer. I also wanted to experiment more with Norberto's non-waterproof ink technique.

To be continued...