Too young for books?

Zo leer je Tekenen. by Tjomme de Vries.
My first book. Zo leer je Tekenen. Tjomme de Vries. 1962.

In addition to my previous post.

I was a young kid, maybe ten years old. I really wanted to learn to draw. I practised a lot. But I already knew that exercise alone was not enough. I would also have to purchase study books. However it still took some years before I would convert my plan into action. Money was scarce at our house: we were eight children. Eight mouths to be fed; eight children to be clothed. One day, the sixties had dawned and a fledging financial relief appeared on the horizon: I received my initial pocket money! (The first 10 cents I spent on a bag of new nails. I liked carpentry and was tired of straightening and reusing the rusty, bent nails as my father showed me.)

After months and months of saving I gathered enough capital to proceed with the purchase. I remember I walked into the book store. I went straight to the small section arts and crafts, right to the book that I had already browsed through so many times: ZO LEER JE TEKENEN (This way you learn how to draw).  I settled the bill,  the book was neatly packed, and I left the shop. Proud as a peacock I went home.

I really don´t remember if I studied a lot from that book. I will have examined the pictures, but much text I will have skipped. I had mild difficulty with written text. And for many theories I was too impatient. Still the book is in my library and occasionally I look through it. The work is far too difficult for a young kid, I know now. Later genuine drawing skills I learned from Beatus Nijs. I am still grateful to have had the opportunity to follow his classes.  (see below)

Quick drawing of a live model
Male nude. charcoal drawing.
nude study
Female nude. charcoal drawing.

Portrait painting and imagination

watercolour portrait
Watercolour demonstration for the children.

This week my friend Julian Despaigne came to visit me with a group of children from the village. Every year he organizes a kind of summer school, now children are on holiday. They do amazing things. Visits to the village monuments where he explains and tells stories from the history, treasure hunting through the streets and much more. Last week they visited the village blacksmith, and now they have paid me a visit in my studio. I told them something about portrait painting and mixing paint. In a five-minute demo I made a watercolour of the portrait of Julian. The children were spellbound.

It reminded me of a beautiful story that the famous graphic designer and illustrator Milton Glaser told in an interview with his friend and fellow artist James McMullan.

“There was a very specific moment when I was about four or five years old. My cousin came in with a paper bag and said, ” You want to see a pigeon?” I thought he had one in the bag, but he didn´t. Right before my eyes, he just drew it on the paper bag. At that moment the idea of inventing an image – it was the first time it had ever occurred to me that you could invent something and give it life – became clear. That was the moment of decision for me, and I never deviated from that. The only thing I ever wanted to do was something involved with making images.”

I myself as a child had a similar experience that made me decide that I would become an artist. (I will talk about that occurrence next week). If the children who visited me will go into art I do not know. Perhaps, who knows…

By the way, Julian is an amazing guy! Don´t forget to visit his website.

Why I love impressionism?

Why I love impressionism

I’m not a psychologist. I feel things and I think things in my simple way, and for convenience I  assume that in this respect I am representative of a part of humanity. I asked myself: Why do I, and many others, love impressionist art?

Look closely at this picture and realize that, when you can see the two images separately you feel a kind of pleasure. At least I do. It’s similar when I find the solution to a cryptogram or a word puzzle. Recently I read this in an article about perception: “Studies have shown that when people struggle to find familiar shapes and are successful, they rate the work as “powerful”. Brain scans show very active neural activity as they struggle with the work. The brain sees the work as a puzzle and is pleased when it finds a solution”.

Often I have asked myself why I am indifferent to photorealism. In my opinion, part of the answer lies in the absence of the fun of the “aha” experience as described above. My common sense says: Everything is already to be seen and there is no challenge whatever for my brains. Therefore I suppose, I sometimes find photorealism boring.

Cheap mother wit? I don’t know, I am not a psychologist.

How I prepare watercolour paper

This week I made a short video to show you how I stretch watercolour paper.

There are numerous professional grade, watercolour blocks on the market.  (See my last post.) But when I use single sheets, I stretch it myself, on board. This method makes it possible to work even on low quality paper in watercolour.

  1. First, I cut four strips of water-activated gummed paper tape at the correct length.
  2. Then, I moisten the water colour paper with a sponge.
  3. I leave it to absorb the water and to fully expand.
  4. I stick the wet paper onto the board and let it dry. In summer this takes an hour, in winter more than double that time.
  5. Once dry, the paper is tightly stretched.
  6. Once finished I cut, with a sharp knife, around the painting cropping the paper.

Now I can make my watercolour painting with no problems. The paper will not wrinkle when it comes into contact with water.

Portrait in watercolour
Another portrait I made this week. 35 x 40 cm

Painting a portrait in watercolour

“If you are self-employed, do you need a lot of self-discipline?” someone asked me a long time ago.  “Of course!” was my answer, “because you need to know when to stop.”  Unless you pay attention, you find yourself day and night behind the easel.  I have had to think of that now I am seized with “watercolour fever”.

Portrait in watercolour
Portrait in watercolour

Two weeks ago I wrote you about a commission in watercolour. I finished the job but I could not shake myself free of watercolours as they captivated me. I attacked (after Van Gogh) a number of portraits in this beautiful technique. The working method in watercolour is opposed to that of oil. In oil you immediately start with the darkest parts, then the half tones and finally the lights. On the contrary, in watercolour you start with the light areas, (saving the high lights). Then the halftones and finally the darkest parts.

Already people have asked me for a tutorial and I have put it on the agenda for next year. Next post will be on the preparations for a watercolour portrait.

My watercolor equipment.
My watercolor equipment.

The colours on my palette:

  • Cadmium Lemon Yellow
  • Cadmium Red Light
  • Yellow Ochre
  • Raw Sienna
  • Alizarine Crimson
  • Phtalo Blue
  • Cerulean Blue
  • Sap Green
  • Hookers Green

I prefer to work on Arches France, Bockingford or Fabriano paper.

Preparing Basil Pesto

basil pesto
preparing basil pestoesto
I am not always painting…

Our kitchen garden now produces huge amounts of basil. I am preparing a little jar of pesto for good friends here in the village, where we are invited for dinner tomorrow.

Hereby my recipe.

  • Basil. As much as your garden produces.
  • Garlic. As much as you dare.
  • Olive oil. As much as you find delicious.
  • Salt. As much as you can tolerate.
  • Parmesan cheese. As much as you can afford.
  • Pine nuts. As much as you have. I had nothing and it was too hot to go to the grocery.
  • Mix everything in a blender and you’re done.potje

Portrait drawing: Looking for models

It is not always as difficult as it seems.

poportrait drawing Ava gardnerAs a child I drew many portraits from magazines. We could not afford a variety of periodicals, so my selection of images was limited. HoweverI made dozens of small sketches and I’ve learned a lot doing so. Now times have changed. If you want to study portrait drawing and models or magazines aren´t available, then do this: Search in Google for “faces”. The section images gives you a choice of thousands of faces. People with fair skin, dark skin, young, old, happy, angry etc. Never it was so easy to practise your drawing skills. So, no excuses anymore!  Sit down behind the screen (put on your favorite music) and start drawing. Have fun!

drawing portraits from the screen
Cozy behind the screen

See also this post.

Portrait drawing in charcoal

Changing my habit: portrait drawing in charcoal.

As I mentioned earlier we get together every week to work from life. We ask people in the neighborhood to model. There will come a day when we shall have “done” half the village. This time I decided to work in charcoal and not in oils. I haven´t done this for ages and once again I’m surprised how much I enjoy this. (1,5 hour session)

charcoal drawing
Drawing a portrait from live model in charcoal. (Click to enlarge)

I used Winsor & Newton Artist’s charcoal, thin and medium, Fabriano drawing paper 120g / m2 – 24 x 32 cm, Faber-Castell Art Eraser (kneaded rubber eraser) and some  brushes for blending.

About portrait painting part 2

Today part 2 of the interview that Erica Robb made a month ago. Once again I want to explain that I have no qualms in admitting that working from photography has become an integral part of our profession. Many colleagues are secretive about this and I think that’s baloney. But… I also would encourage everyone to work from live model. That is fundamental. It creates the craft, where skills originate. And it is great fun to do!

See also part 1

Talking about perfection

In the interview two weeks ago I talked about the juggler who reaches his goal by really wanting to. Yesterday, on Dutch TV, I saw this amazing artist. Excellence on top of perfection. I can´t stop watching this. Probably the most impressive coordination the world has ever seen. Chris Bliss juggling masterpiece on Golden Slumber by The Beatles.