Drawing in the dark - flamenco in Madrid

anticipation at Cafetin La Quimera
© Teresa Newham

Something must have got lost in translation, because we arrived too early. Would we mind visiting the bar across the road for half an hour?  As it turned out, we didn't mind at all; as complimentary plates of shrimp, patatas bravas, olives and potato salad arrived with our drinks, some of our group were tempted to spend the evening at the bar and not bother with the flamenco. . .

it starts with the song . . .
© Teresa Newham

Just as well we did go back to Cafetin La Quimera, however, because we were in for a treat.  The place was packed - mainly with locals, which was a good sign - and our table for sixteen was ranged along one wall.  Drinks, bread and olive oil were handed round, along with the best Spanish omelette of our trip.  Time for the show!

the dancing gets under way . . .
© Teresa Newham

Flamenco originates from the song, not the guitar or the dance:  so there was singing and clapping before the first dancer got to his feet.  As I don't eat meat I was ignoring the breaded chicken on the table but in any case I was too busy watching and listening to eat, taking the odd photo without missing anything that was going on.

. . . the atmosphere is intense . . .
© Teresa Newham

I was seated in a dark corner, and the rest of the party were now tucking into a meat stew, so I had the chance to make a couple of quick sketches. I drew the first two dancers with extra arms because their positions kept changing - resulting in the sort of thing that's referred to as 'lively' at life drawing classes!

.. . . and so are the performances!
© Teresa Newham

When the third dancer took the stage, he moved so quickly that I had to put the sketchbook down.  There was always the second half of the show for the opportunity to do some more sketches, I thought.  Meanwhile, it was time for some paella during the interval.  And at some point, I recall, there was a wonderful vegetable stew . . .

drawings made in the dark . . .
© Teresa Newham

I'd love to show you some photos and sketches of the rest of the evening.  But there aren't any, because I became completely engrossed in what was happening on stage. Sometimes it's better to be in the moment than to be recording it!

. . . and coloured up when I got home
© Teresa Newham

Art and eccentricity in Madrid

Half term found a group of us in Madrid, on a short break with a packed itinerary - Old Town, Cathedral, Royal Palace, the Prado; there was going to be lots of art.  Would the city turn out to have a whacky side, too, I wondered?

the bear and the strawberry tree - symbol of Madrid
© Teresa Newham

At the Puerta del Sol  we paused for photos by the statue of the bear and the strawberry tree - both symbols of the city which have featured on its' coat of arms for centuries.  Then it was off into the narrow streets of the Old Town, where we spotted this automaton moving above a watch shop:

the clockmaker plying his trade
© Teresa Newham

Art was everywhere on the streets in the Old Town, as well as in the museums and art galleries.  We had a good view in the glorious sunny weather, which showed the buildings off to their best advantage.

highly decorated buildings in Madrid Old Town
© Teresa Newham

In the Plaza Mayor we found official and unofficial statues, the latter being very keen to engage with us.  At least the official statues didn't move . . .

statues living and traditional in the Plaza Mayor
© Teresa Newham

The relatively modern Almudena Cathedral was a striking mixture of plain white walls and colourful works of art.  Luckily I remembered to point my camera at the ceiling, which was a work of art in itself!

stunning artwork on the ceiling of the cathedral
© Teresa Newham

Moving on, I spotted this model on a balcony near the old market. Who thought of putting it there? (I would like to thank them).  Why did they put it there - was it to find out which of us look up as well as around? When it rains, does she hold an umbrella?

a mannequin on a balcony
© Teresa Newham

In the part of the Royal Palace where photos are allowed, I was looking up again, at this very Spanish ceiling (while trying not to fall down the staircase at the same time).  This wasn't just Art - this was  Culture, with a capital C:

stunning artwork on the ceilings at the Royal Palace
© Teresa Newham

And I couldn't resist snapping these, which are shop mannequins and not the living statue variety, unfortunately.    Madrid may be a capital city, but you can't accuse it of taking itself too seriously!

street mannequins near the old town
© Teresa Newham

the frog - revisited

the green frog
reduction linocut by Teresa Newham

As soon as I'd finished printing The Golden Frog, I knew I wanted to have another go at the subject.  I started planning it out during our last Herts Open Studios session - trying to make the markings more - well - frog-like, and eliminating some of the problems I'd encountered previously.

working out the design
© Teresa Newham

My stickiest issue was the background - I discarded the idea of leaves and tried boulders and pebbles, but I couldn't get it right.  Until one of our Open Studios visitors, browsing our charity bookstall, said: "Oh look, there are some frogs here, on lily pads".  So a glance at my own book would have given me the answer!

getting the first colour right . . .  or not!
© Teresa Newham

Once the white was cut I set out to print the first yellow layer.  That's right - yellow.  Except it didn't work out like that, because I mixed this lime green colour first, and fell in love with it.  The prints sat for a week on my clothes airer drying rack until I found time to move on.

first colour, printed & drying
© Teresa Newham

The next plate had to be a mid-green.  I hoped it would work, and tried to build some texture into the print when I cut the leaves out.  Because I was transferring the design plate by plate using a pencil, I kept getting confused, and was pretty apprehensive when I came to do the actual printing.

now for the second colour . . . .
© Teresa Newham

I needn't have worried - the two colours printed together worked well.  The markings were there, the white outline was there (on most of them anyway), and even on the odd print where the registration was slightly out, it didn't seem to matter.

. . . which looked encouraging!
© Teresa Newham

I repeated the process for the next (and what turned out to be final) colour - brown. I'd originally intended to print black onto the water and the pupil of the eye, but came to the conclusion I didn't need to - the brown and green are fine as they are.  So glad I had another go at this little fella!

the final print
© Teresa Newham

the golden frog

the golden frog
reduction linocut by Teresa Newham

When my husband called to me that a frog had hopped out of the bushes while he was watering the garden, I grabbed my iPhone and hoped for the best.  I wasn't disappointed; our visitor obligingly posed for photos, even moving into a more accessible position for me to snap away.

the original photo
© Teresa Newham

I was looking for a demo subject for #HertsOpenStudios; and there he was.  The perfect opportunity to explore the ins and outs of making a reduction linocut with the new softcut lino I've been using this Summer!

creating the design
© Teresa Newham

With the design finalised, I realised that my usual method of tracing it onto the lino would only work up to a point.  I needed to ink over the tracing, in order to cut away the various colours successfully, but my usual waterproof pen would not work.  In the end, I looked on the internet and used a Sharpie, which seemed ideal.

transferring the design
© Teresa Newham

Unfortunately I soon realised that the Sharpie was coming off on my hands as I cut the white areas away; and sure enough, when I printed the yellow plate, the lines of the design printed along with it.  This didn't matter in the places which would be covered by brown or black ink, but careful cutting would be required to ensure that it didn't show on the yellow.

the first printing
© Teresa Newham

I decided to change the colour of some leaves at the bottom of the image from yellow to black to counteract this, but regretted it almost as soon as the brown plate was printed - somehow the picture had lost its balance.  What's more, the brown was simply too dark when contrasted with the yellow. Ironically, the complicated cut itself had gone well!

adding the second colour
© Teresa Newham

I carried on regardless - I had to demonstrate something, after all - and the result isn't too bad;  it's not what I envisaged, however, and I'm sure I can improve on this.  For now he looks jolly enough, anyway . . . 

the finished print
© Teresa Newham

pictures, pictures, pictures . . . cake!

photographs and watercolours jostling for space
© Teresa Newham

With more than forty visitors through the door already, it's difficult to believe we're less than half way through this year's #HertsOpenStudios.  The teenager considering doing Art 'A' Level, the elderly woodworker, the printmaker from Northern Ireland, friends old and new: so many interesting conversations and excellent feedback! 

rediscovering my sketchbooks . . .
© Teresa Newham

This year I've put all my sketchbooks on show; some I'd forgotten I still had.  The little one below, for example, is three-quarters empty, and definitely worth keeping out once Open Studios is over. I can't quite remember why I put it away in the first place . . . 

. . . some of which are only part-full!
© Teresa Newham

Sue and I are opening on seven days during the event, which lasts until 25th September.  But it's not worth taking everything down in between; so effectively my long-suffering husband and I are living in a gallery for three weeks or so.  My studio is crammed with stuff, and the kitchen is full of cake, biscuits and crisps for our guests!

now . . . how do I get to those drawers?
© Teresa Newham

The dining room ornaments have been stashed away in the most unlikely nooks and crannies, to be replaced by all sorts of artworks, such as  Sue's photo of her hand, which is displayed to full advantage on the dresser, along with some of her other pieces:

my dresser, Sue's paintings and photos  . . .
© Teresa Newham

The display board is dismantled at the end of each session, which means putting away Sue's lovely paintings - I do like that tiger!  But at least we can get to the bureau behind it when we need to . . . 

. . . and her display board
© Teresa Newham

I'm really pleased with my new linocuts in their cream-coloured frames, and I've managed to put virtually all my greetings cards out on display.  Sue also has masses of cards, and a whole range of unframed original watercolours.  So there's plenty to see.

the new linocuts and a lot of greetings cards!
© Teresa Newham

Once again we're raising money for St Luke's Hospice in Kenton, who looked after my Dad so well during his final illness.  This year we're selling second-hand art books, some which were my Mum's and some of mine.  So if you know of any art lovers looking for books on watercolour, drawing or calligraphy, send them round - and let them eat cake!

books old and new - on sale for charity
© Teresa Newham

Details of our #HertsOpenStudios sessions are shown in the side panel of this blog.

Slow with the pen, fast with the brush

So much for plein air . . . too hot - too cold  - too wet - too busy - no opportunity to get the sketchbook out - my excuses are endless!  Luckily, while leafing through some old art books one unsuitable afternoon recently, I was reminded that there is an alternative.

watercolour sketching from the invaluable iPad
© Teresa Newham

The book was Big Brush Watercolour by Ron Ranson, one of several I inherited from my mother.  Ron was a hugely popular artist and tutor in his day but I must admit I find the colours he used a bit dull.  And from the looks of her sketchbooks, so did Mum - she copied many of his pieces to improve her technique, but with a brighter palette.

R Stour at Sturminster Newton
© Teresa Newham

In this particular book Ron was encouraging his students to loosen up by using - you've guessed it - a big brush; one which makes detail impossible.  He recommended making simple tonal watercolour sketches to establish light, dark and mid-tones.  And had no problem with working from photos, even in a pre-digital age . . .

R. Stour at Sturminster Newton, pen sketch
© Teresa Newham

I'd just completed a pen sketch of the River Stour at Sturminster Newton, where we spent a few days at the beginning of August.  I'd loaded one of my photos onto the iPad, and worked slowly and meditatively, at the same time trying not to reproduce every single leaf or blade of grass.

R.Stour @ Stur, tonal watercolour sketch
© Teresa Newham

A watercolour sketch was the logical next step, in French Ultramarine with a one-inch brush - Ron's was a hake but he was working on much larger paper than A4!  He also advised using any old paper to free up his students from worrying about the result.

the River Ouse at Bedford
© Teresa Newham

I enjoyed this exercise so much I repeated it, basing my next go on a picture taken in Bedford a couple of weeks ago.  Drawing slowly paid off again, and the watercolour sketch which followed (in Permanent Sap Green) was a joy to do.  In fact, I think it took less time than the drawing . . .

Water's edge, Bedford -  pen sketch
© Teresa Newham

Ron, of course, wanted  his students to produce lively paintings using the tonal sketch as a guide, rather than slavishly copying a photo.  I don't know whether I'll work up either of these into actual paintings - but it might be fun to try!

Water's edge, Bedford - tonal watercolour sketch
© Teresa Newham

a walk round the corner - hedgerows & horses

the first field, full of wheat
© Teresa Newham

We're still walking the fields near our house - and our stroll last Sunday prompted me to share these photos. We could scarcely see the new fence along the edge of the first field for the vegetation which has sprung up, even though the ground had been completely bare the last time we wandered that way!

the old oak, silhouetted
© Teresa Newham

The old oak was in full leaf, rustling and swaying alarmingly in an unseasonal wind, which was also moving the wheat beneath it; while the crop in the second field was so high that the trees at the far side were barely visible:

lush growth in the second field
© Teresa Newham

Perhaps thanks to the wet Spring, the hedgerows were almost completely blocking Mud Lane - which was so dry it should have been renamed Dust Lane.  It was almost completely free of puddles!

Mud Lane - sunlight & shadows
© Teresa Newham

Amidst all this abundance some berries made a bright splash of red amongst the green. Mother Nature is giving us a little reminder: although August is still officially Summer, Autumn is definitely on its way . . .

first signs of Autumn!
© Teresa Newham

Thames Wood looks very different at this time of year.  Parts of it are difficult to access through the undergrowth, although my favourite trees are still visible.  It's a special spot, with what looks like a badger sett nearby.

Thames Wood in summer sunshine
© Teresa Newham

As a couple of riders came ambling past, I gave thanks that we have such lovely countryside round the corner for everyone to enjoy.  And made a mental note to get out more in the future . . . !

riders enjoying the afternoon
© Teresa Newham

. . . and Dandelion Clock

Dandelion Clock
original linocut © Teresa Newham

Having had such fun creating Cow Parsley I decided to make a second linocut print using the same materials. I already had some field sketches from Harpenden Common, and I also looked at photos of dandelions on the web, before roughing out some ideas:

drawing dandelions
 © Teresa Newham

I drew a design onto the block with pencil, but soon abandoned that in favour of 'going with the flow' and trusting what came to me as I cut into the lino.

the design taking shape
© Teresa Newham

Soft cut holds ink very well, and the block looked attractive before I'd even pulled a print, inked up with Naphthol Red and Light Orange Caligo Safe Wash Relief Inks:

the lino block inked with two colours
© Teresa Newham

I dried the prints on an old clothes airer - a low tech solution to the age old space problem - and I'm looking forward to framing them ready for Herts Open Studios in September.  That's only a few weeks away, so it's time to get organised!

finished prints on the makeshift drying rack
 © Teresa Newham