(Oops! For some reason the videos seem to be missing. There should be two. And you may have to click on the blog title, which will open up the post in your browser, to read the entire post.)
Earlier this spring I signed up for a online concertina sketchbook course with British artist Karen Stamper. A life-long traveler, she fills book after book with market and street scenes, boatyards and ornate doorways, always with her signature loose and layered approach. With the pandemic and curtailed travel she turned to gardens and documented them, with collage and mixed media, in all their wild glory.
I was leaning towards her garden sketchbook course but ended up choosing the one on buildings. Having no interest in taking the time to learn perspective (Karen doesn't bother with perspective in her sketchbooks.) I hoped I might pick up technical tips, by some magical osmosis, for sketching believable buildings.
In the course, long before we even began sketching, we scraped on gesso, dribbled ink, built up texture with sticky labels and our own rubbings, and blindly collaged bits of text and other papers. For me, this was a startling different way to work!
Karen works in the marvelous British concertina sketchbooks made by Seawhite. They have 35 pages (70 total if you use front and back) and go on forever! You can sketch an entire country in one book! My concertina was much more modest -- six pages -- and I planned to record the outbuildings on our property.
What I ended up with is messy and unformed and lacks any real focal point. Also I was working on printmaking paper which is too absorbent for the techniques Karen uses. Sturdy watercolour paper is better. Still, it gave me a push towards a looser way of working.
Here's a video -- and closer look -- of what I made. In the background you can see our woodshed, which makes an appearance at the end of the concertina.
I did look into purchasing a Seawhite concertina sketchbook but at around $50 through Amazon seemed a bit pricey. However, for years, I've kept a box of old National Geographic maps. The older maps, especially, were printed on nice paper -- heavy but soft with a matte finish. So I made my own lengthy concertina.
One aspect of the Seawhite concertinas I found interesting is the pages are doubled, so that long concertina is two layers thick. I split the maps in half crosswise, leaving each section doubled, and joined them together, pushing a full page of a new section under a full page of the old section.
I used double sided tape and stopped when I had 16 pages.
I gessoed both sides, drying the concertina outside in the sun between layers. It looked impressively long!
On a whim, I flipped the concertina up-side-down and suddenly the foreground became a sky and distant hills.
With the heavily gessoed surface I needed a sturdy nib for drawing and chose a black Tombow pen. And then spent the happiest Sunday morning simply sketching plants in our garden. One by one, the pages filled up.
I started partway into the book and, at first, my drawing was tight. Took a bit to get used to the bold black line of the Tombow pen. Then I relaxed into the drawing and -- surprise! -- the sketching got better. And easier. There's a lesson in there somewhere!
Then a funny thing happened. You likely can't see it in the photo but the Tombow ink had a decidedly blue cast and I didn't care for it with the graphite greys in the sky from the sumi ink. So I drew lines into the sky with the Tombow, wet them, and blended in the blue-grey. I also worked a bit of grey from the watered-down sumi ink into the plants. The mixing and blending of the greys made a more harmonious whole for me. With the underlying collage and the blend of greys, one of the iris petals made my heart sing!