Quite a few links in this post; I hope they all work.
Firstly, a huge thank you to Fiona, who told me about the free online Sketchbook Revival course hosted by the wonderful Karen Abend. I’ve been following along, and it really has been an exciting and inspiring two weeks. If you missed it, I think the classes are still available for another couple of weeks or so. And another huge thank you must go to all the amazing artists who so generously shared their time, experience, and processes.
I kept a sketchbook (more of a notebook, really) to remind me of the content, and I had a go at most of the projects – some more successfully than others, but then you generally learn more from your ‘bad’ art. I stayed pretty close to the techniques and images presented, but made enough notes to be able to attempt something similar in my own style, and I think I’m still learning what that is. Shown here are just a few examples; this particular book is actually full-to-bursting now.
I added pockets to the notebook so I can write extra notes to myself. I have a lot of sketchbooks, most of them constantly in progress and nowhere close to being finished, and I often struggle to find enough time to use them meaningfully.
As Karen Abend so wisely says in the last session, however passionate you might be about your creative practice, it can be very difficult to be consistent with it, and it’s true – life gets busy; often I don’t know what to do in the sketchbook so I end up not doing anything in it; and then there’s the potentially overwhelming problem of the inner critic and imposter syndrome. After these two weeks of brilliant classes, I’m more determined to maintain a daily sketchbook practice. There are lots of mixed media ideas I want to explore, and I can now promise myself that I will find the time for it.
Usually these days my drawing consists of abstract mark-making, and it’s been a while since I’ve drawn ‘things’ that can be recognised as themselves, although lately I do seem to be drawn to flowers and leaves. A few of the techniques demonstrated in the classes are somewhere between abstract and realistic. I really enjoyed this poppy meadow session, hosted by Tamara Laporte:
There was mark-making by Joy Ting, using twigs as drawing tools – I already do this quite often myself, and it’s been reassuring to see and hear artists voicing my own thoughts about processes, using similar techniques.
There was a bit of mixed media collage, with Lynissa Hayes:
And some proper drawing – upside-down thumbnails hosted by Linda Germain:
The right hand page shows the exercise presented by the utterly brilliant Suhita Shirodkar, who demonstrates how to tackle a complex street scene, featuring architecture and crowds, in pen and watercolour. This one was a bit out of my comfort zone – not something I would even think about drawing, usually – but she makes it very accessible and it was actually a lot of fun.
And then there were mixed media pockets and tip-ins (not a term I’ve come across before; from the context it seems to be an extra page that you stick into a journal or sketchbook) hosted by Roben-Marie Smith, and also really enjoyable.
And there was drawing over (and under) collage with Julie Fei Fan Balzer:
There’s a LOT more in the course than the handful of examples I’ve given here – there are more than thirty sessions altogether. I learned a lot, had lots of fun, and am immensely grateful to all the artists who took part in this.
Next up, I’m doing a mixed media class with Laura Horn, and am looking forward to getting stuck in. Maybe it’s something about the autumn that makes me want to go back to school. It’s probably all those Septembers as a child, with a pencil case full of new pens…
