Goals for Artist Journal course & testing papers

In just a few days Kate Johnson’s Artist Journal class begins. In the past I have been sceptical about “art journalling”  – maybe it’s a language thing. I think that a ‘journal’ (US English)  is a diary, which is why I don’t see the work of many art journallers, wonderful though it is, as journalling, or keeping a visual diary, as I’d put it . Much of the work is so labour intensive, with all the layering, that there is no way there can be an element of a regular entry. I’m sure these artists do work on their ‘art journals’ regularly, perhaps even all day every day, but I do feel that the ‘diary’ element is missing. Maybe I would call them an artist’s book.

My goals in this course are to .. (1) improve the way I treat each double page spread (2) draw or paint, with only minimal relevant collage (3) find a way to speed up my drawing (4) form the habit of drawing more regularly (because faster).

These drawings are preparation. I have a number of handmade books all ready to start, but I wasn’t sure which to use, as I have a Stonehenge one, a BFK Rives one, and an Arches Medium one.  I plan to use the full variety of media in this course, so I wanted to test the papers. I ruled out Stonehenge as my current nearly full sketchbook was of that paper.

First, I tested watercolours on the BFK Rives. I know it takes wet media well, but just wasn’t sure about watercolour. It has a bit of a woolly look, but generally acceptable. Then  I tried watercolour pencils on the Arches Medium. Again, reasonable, but I prefer smoother for a diary, so I’ll put that one aside for when Kate does her watercolour course.

Both these images were from Google Maps street view for http://virtualpaintout.blogspot.com The first one is Belfast (which I missed the date for), and the second is Halifax Nova Scotia which is the November  location.

Drawing my books

I always have a big pile of books (or two) beside my bed.  Inspired by this drawing, and again, in search of inspiration for the ‘journal challenge’ I drew some of my books. I was on a ‘B’ page of my altered book of dreams, so I left the original text about the meaning of a dream about books.

See the third book down – the biography of Patrick White written by David Marr?  Two nights ago I went to a this talk at COFA, and heard that David Marr keeps his piles of books in his lounge rather than his bedroom. It was a very interesting talk for many reasons. There was one philanthropist, one writer (David Marr) and one collector, speaking on the subject of ‘Why Art Matters’. I went along because David Marr was going to be there. Last year I heard him speak about the Henson case about which he has written a book. He is so intelligent, knowledgeable and witty.

Question time was particularly illuminating. A question was asked whether art for an upcoming art festival should be written about in ‘academic language’ or whether it should be in ‘plain language’ so that the punters could read it. It’s good to know that such esteemed and highly educated people as the speakers share my loathing of artspeak.

I’m not sure, but it’s possible that this talk may later be found on COFA Online

My drawing was done in a big rush with an Artline pen over Gesso, with Tombow pens for the colour, and watercolour crayons for the background.

Drawing from the fridge

Persevering with the journal challenge. When in doubt I look in the fridge. I’d realised ahead of time that I would be short on inspiration and in a rush, so I shopped accordingly.

This is another gessoed page in my altered book of dreams. I drew very fast, almost like blind contour drawing. I used  an Artline pen (which I’m starting to prefer over the Pigma Micron) then coloured with watercolour pencils. The background was done with Aquash watercolour crayons, blue & yellow, then wet. Note that the collage has gone by the wayside. I’d had to get out too much stuff and spend too much time sorting through it. I’m 100% decided that collage in my sketchbook must be relevant, like this one. Then it’s easy – you have the stuff on the day & just glue it in.

Chillies in pastels

This is a spread from the journalling challenge. This time on BLACK gesso. Earlier this year, Mignon Parker came into the office and did a demo on black gesso and I’ve been longing to try it ever since. (Mignon is doing a free workshop at the Derivan Open Day, but sorry, it’s full).

Just after that I spotted some gloriously coloured pots of chillies outside the local florist, photographed them with my phone, and have been longing to draw them ever since.

This is conte crayons and conte pencils, two layers. Unfortunately the fixative spray deadened the colours a lot. Not sure why. I haven’t had that happen before, but then in pastels I’ve always worked bigger. This is a first study for a painting on black gesso. There’s second one done, but haven’t had time to put it on the blog yet.

In my courtyard – journal challenge.

This was Saturday’s effort for the journalling challenge. I was uninspired, but for the first time it was warm enough to sit outside. My courtyard is going to be completely redone, so it’s a mess at the moment, except for the geraniums. A little bit of collage on this page, from the magazine that comes with the Saturday paper. Gesso, Artline pen, Peerless watercolours, water soluble oil pastels.

I had a browse through one of my other journalling books -1,000 Artist Journal Pages: Personal Pages and Inspirations (1000 Series) not many with drawing, but some people are amazingly inventive.  I came across the work of Amanda Kavanagh who is also in Danny Gregory’s book  An Illustrated Life: Drawing Inspiration from the Private Sketchbooks of Artists, Illustrators and Designers too. I must say I like EVERYTHING she does. A quite different one I like because it’s really different and inventive is Judy Watt’s work.

Journalling Challenge

I am confused about journalling. What is it? Journalling is not a word we use in Australia, however I have a number of books about ‘journalling’ or ‘art journals’ that I got for inspiration & techniques for my artists books. Some of these books are really excellent, particularly this one  of Lynne Perella,  Artists’ Journals and Sketchbooks: Exploring and Creating Personal Pages which is worth buying for the page on image transfers alone. Her other one is pretty jolly good too  – Alphabetica: An A-Z Creativity Guide for Collage and Book Artists (Quarry Book) – it’s more a catalogue of lovely artists books/art journals by various artists, but with a showcase of unusual and interesting techniques.

What sparked this, is that I recently bought a book by another author, True Vision: Authentic Art Journaling which has similar techniques. Not that I mean they overlap, more that I mean they are collage, layering, other art techniques. These are just two of the authors that I have, but they ALL use these collage/layering techniques and I just don’t get how they’re a JOURNAL. Perhaps in some cases they may be a journal in the sense that the artist is sharing their innermost thoughts with the book.  Where I don’t see them as a journal is that the layers are very time consuming, so the ‘daily’ aspect of a journal must be missing except for the fact that, yes, you could work on them daily, but not finish a spread daily. And there is very little drawing.

Through an on-line art mailing list, I came across another artist in the USA who also remains ambivalent about journalling. We have a challenge to ‘journal’ every 2nd day in September. This is my first spread. I’m re-using a book about dreams, which is why I started with a dream I had.

My aim is to DRAW in every journal spread, but to use some of the techniques from my myriad of books to create an integrated page spread.