The Beginning Of A Sketchbook

April 13, 2020

Whilst perusing Instagram I saw that Shilpa Agashe, somebody who I have been following for quite some time was using a sketchbook, the way she was working in it really attracted my attention. There were painterly elements, text and collage. I really liked the aesthetics of it and it inspired me to have a go at using a sketchbook myself. I’ve never been much of a sketchbook user, I start them with good intentions but never seem to make it past the first few pages. I feel a bit like a bad artist for not using one, surely all good artists keep sketchbooks that could be works of art in themselves?! I only really kept them at university because they were a required element. I love seeing other peoples sketchbooks and find them to be a great insight into how an artist works. I tend to just draw on separate bits of paper, but I end up being very precious with it, hoping that whatever I make will be good enough to put in my shop and sell. There isn’t much room for experimentation with that kind of thinking.

So, with the U.K. in the middle of lockdown due to coronavirus I decided to start a sketchbook. I dug out an old book which I bought from L. Cornelissen & Son in London many years ago, I’d already ripped several of the first pages out so it was practically new. A fresh start. The only rule with my sketchbook was that there are no rules whatsoever. If I want to draw little landscapes, birds and flowers in my usual mediums then that’s fine, if I want to dip the whole thing in paint then that’s fine too. The point is to create, to gather ideas, to record what’s going on in my head and the outside world. To help inspire new work, to perfect techniques, to try something new, to work with colour and to continue with black and white. It’s all valid.

I’ve began making drawings in my sketchbook. A little pencil sketch from one of my last walks before lockdown, a sweet drawing of blossom made in fountain pen. A bright green tree with flecks of blue which I’m desperate to paste over with something else. Some birds chosen at random from my RSPB pocket guide, a detailed landscape of silhouetted trees in fine liner pen and a blousy daffodil with handmade paper collaged over the top. The sketchbook has already inspired ideas for future work, I’m excited to get stuck in to it when my son goes to sleep, it has ignited a need to draw again which I had been missing for a while.

Do you keep a sketchbook? If so then does it help you with your work?

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️

Artist Interview: Cally Conway

May 28, 2018

I'm a curious type; I like to know what informs an artist. Who or what do they look to for inspiration? How do they work? Each month I will be asking an artist I admire a few questions, this month is Cally Conway.

Cally, many of your prints are made using a linocut process, what is it about this process that you love?

With linocuts, I love how egalitarian they are. You don’t need fancy equipment or a big studio, you can get hold of fairly cheap tools and just carve away, and then print it all by hand with the back of a spoon if you want! That’s how I started. I also love the physical process of carving an image, I find it really meditative.

The intricacy of your prints is staggering, how long does it take to go from an idea to a finished print?

Sometimes it can take me an age from starting an image to finishing. It really does depend on what I’m doing, the size of it, intricacy etc. And the fact that I teach means I can’t work on a piece continually every day. It can be anything from a few days to weeks or months even. I seem to need to do a lot of thinking at every stage too. I’ve realised recently just how I work, and I reckon I’m quite slow...!

Nature and folklore are your biggest sources of inspiration, what is it about recording nature that appeals to you and how do you use folklore in your work?

For me, nature is not only beautiful and essential, but it continually inspires and sustains me. Being in nature makes me feel that everything is alright with the world, even if it’s not. And I think too many of us have lost touch with that. So I like to try and capture its beauty if I can, and maybe distill some of that. With my interest in folklore, sometimes it’s not that obvious, but I love finding out stories and meanings associated with plants or animals. When I’m creating a print I will research any folklore associated with what I want to include so that there might be a connection between the different elements.

You are based in London and yet your work is mostly nature inspired, where do you go to source inspiration for a new piece or series of work?

Ah yes, living in London you could say it would be hard to find any aspect of nature to work from, but in truth there’s actually lots in London if you know where to find it! I spend most of my time at Kew Gardens and Hampstead Heath. I’m lucky enough to live really near Hampstead Heath and just a short train ride from Kew. Since becoming a member of Kew Gardens a few years back I can honestly say it feels like a second home.

Tell me about your studio or creative space.

My ‘studio’ is actually a small rectangular space off my front room, where I’ve managed to fit a work table, inking table, and printing press. No idea how I managed to squash it all in. I’d love to have more space but it just about works as a mini studio. It has a large window great for light, and for watching the local foxes and birds. And it also has the added bonus of being the place my cat races in from outside- usually with muddy paws and straight onto any print I’ve left laying around!

What artists (living or dead) inspire you?

There are tons of artists I admire so I’ll mention some of my long time favourites: I’m fascinated by Louise Bourgeois’ work, I began experimenting with printmaking after discovering her work at art college. Marthe Armitage creates the most wonderful linocut repeat prints for wallpaper and Agnes Miller Parker is a long time favourite for her exquisite wood engravings.

I love learning random facts about people, tell me three things about yourself.

I’m a bit small, probably 5ft (I never measure myself, maybe I should?) every item of clothing is always too long...!
My cat Arwen is named after the beautiful elf in The Lord of the Rings, her middle name is Monkey (do other people give their cats middle names?!)
I’m a proper insomniac which is really frustrating. Once I read an Alan Moore biography (called ‘Storyteller’) in two weeks just in the hours I couldn’t sleep. It became my ‘not sleeping’ book (great book if you love the writer Alan Moore!).

Finally, where can people follow your work online?

I have a website; callyconwayprints.com (which I must get better at updating) to view my prints.
@callyconwayprints on Instagram
@callyconway on Twitter
@callyconwayprints on Facebook
And my prints are for sale on: Made By Hand Online and Folksy

Thank you to Cally for taking part in my artist interview series. I just love Cally's intricately detailed prints of botanicals and find her animal pieces enchanting. To purchase a print from Cally please take a look at her store on Folksy and Made By Hand Online and be sure to follow her creative endeavours on social media using the links above.

If you'd like to take part in my artist interviews series then please do get in touch at claireleanneleach@gmail.com.

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️

Day Three of One Hundred: A Tree In Bergen Drawn In Fountain Pen

The 100 Day Project 2018

April 16, 2018

I took part in the 100 Day Project in 2016 and found it challenging and rewarding in equal parts. Looking back after 100 days to see 100 drawings felt very satisfying though the journey to get there wasn't easy. In 2017 I was oversees and so didn't have the materials or time to take part in the project so when this years project rolled around I decided (a little last minute) to give it another go. My theme in 2016 was simply to make a postcard everyday, there were no boundaries in terms of subject or medium and I enjoyed the freedom to use inky washes one day and pencil the next.

For the 2018 project I have decided to focus my efforts on drawing birds, plants and trees. I've been drawing birds on and off for a few years and find that my drawing skill can always be practised in this area as I've never been confident drawing realistically. I love capturing the character of a bird in the drawings that I have done in the past and hope that over 100 days my bird knowledge will improve alongside my drawings of them. It's a similar story with trees and plants. My landscape drawings are made up of trees and plants but I capture them in more of an abstract way, utilising tiny shapes and patterns to create an overall image of nature and landscape at its most magical. By picking out trees and plants to draw individually I hope to improve my knowledge and help inspire new shapes and ways of drawing to feed into my fine liner pen landscapes.

Already I have found that being organised with the project has been an issue as I am falling behind at such an early stage. In fact my very first drawing was a day late. Rather then scold myself I have decided to also use the project as a reminder that things don't have to be absolutely perfect and that if something isn't quite finished or ready to be posted it can wait until tomorrow or the next day, I want the project to be a joy and not a burden otherwise I fear I won't see it through till the end.

I will be listing drawings in my online shop every week or so in order to make room for more work. 100 postcards were easy to keep tidied away but as this project has no size limits I fear I may drown in paper in no time. If you'd like to follow along with my efforts then I am posting the project on Instagram using the hashtag #clairedrawsbirdsandbotany, you can follow me here.