So, despite all my demos and workshops disappearing in a cloud of Covid 19 related cancellation and postponement, I managed to keep myself occupied during the odd times we’re enduring: daily (sometimes thrice daily) drawings in my sketchbooks; tidying my workspace; ordering more pens, paint and paper, and thankfully, being commissioned to do a few pieces.

These included a 40th anniversary gift – a drawing-with-colour of the couples’ honeymoon venue: a pub in the Yorkshire Dales- and a series of illustrations of subjects in Last of the Summer Wine country: Holmfirth.

I was sworn to secrecy when I started work on these, at least until they’d been approved by the client, who runs a very successful card and gift business in the town. The first 4 were to be printed initially as cards and prints , and I’m delighted to let you know that they’re all available to buy, now the shop has been able to reopen, and you’ll find them exclusively at Occasions in the heart of the town.

Here’s their Facebook page with opening information and directions, should you fancy a trip along the Calder valley: https://www.facebook.com/Occasions-309558495751713/

Here are the four images I created: three are very definitely right up my street, but the fourth is well out of my comfort zone…I wonder if you can guess which one?

Not always a good thing. The one thing we all have plenty of, for one reason or another in these odd times, is a lot more time. Many have used it constructively (my garage has never been tidier, nor my books so organised, and I did make a start on tidying up my art materials, honestly), but having the pressure of deadlines, appointments and the like removed temporarily, is not always a good thing, at least in relation to my art, and the way I produce it.

My own feeling is that I’ve made my best art when it’s not been carefully considered, planned, thought about and painstakingly produced. (In my opinion) my best work has been drawn almost without thinking, as an afterthought, and this set of progress photos of a recent drawing in my sketchbook, will, I hope, demonstrate what I mean.

I spotted the scene as I drove back from my daily dog walk on a blindingly sunny day, and was taken by the tunnel created by the deep shadows revealing a sunlit spot at the end. I quickly took some reference photos, and mentally made a note to draw it at some point: my first mistake- I should have done it straight away rather than think about it for a while.

When I eventually started, I drew the bare bones quickly but carefully as I already knew in my mind how I wanted the end result to look. I left my book open on my work desk -second mistake, as I kept adding to the pen work every time I passed it. After a week of this ‘fiddling’ I decided it was ready for some colour, so I set to, and I now know that I should have added the colour washes in one session, rather than the three which I did, and that I should have stopped about 10 minutes before I did, then I wouldn’t have added the last, very dark, heavy wash to the greenery in the ‘tunnel’ which – to my eyes- has ruined it. I should have realised that the very detailed pen work was enough to suggest heavy shadows, overlaid with a simple wash rather than the heavy, dark green I used.

Contrast the stages in the sketchbook drawing with the two pencil and wash sketches I did after the fact: these took less than 5 minutes, and to me, they have far more life and vitality than the actual drawing. I might revisit the ink and wash drawing, but try it in one go……..

Here are the drawing stages, plus the two thumbnail sketches: I do hope you get what I’m trying to demonstrate, and I’m well aware that this is simply my opinion.I do appreciate that not everyone has the confidence to make art in this speedy style, but a good way to start is to set yourself a time limit: however long you usually take to do a painting, try doing it in half the time, or an hour. You’ll be amazed at the results.

As I sit typing this, it’s raining the proverbial cats and dogs here in the North of England – a massive change from the wall-to-wall sun: mind you, in terms of getting stuff done, it’s easier when you don’t feel tempted to ‘just read another few pages’ whilst basking in the rays.

So, having said that, I’ve been beavering away: finishing a couple of commissions ( which I’ll share when I can), but mainly working on my annual sketchbook: I am usually in full-blown panic mode in June as I prepare my yearly collection of drawings from the previous 12 months- working feverishly to have it ready for the annual Festival of Arts and Heritage in September each year at Staithes, where I have usually ‘launched’ them. It’s a fabulous event where I’ve been lucky enough to have had success year on year, and the months leading up to it pass in a blur of drawing, mounting,flyer and brochure design,packing stuff, booking accommodation and list making.

Not this year, though: within a week of the Government’s announcement, the Festival organisers took the inevitable, but sad decision to cancel this year’s event. It won’t be the same without the buzz of the full-on weekend, and the run up to it, but these are strange times we’re living in, so we must make the best of what we can do. My annual sketchbook collection usually includes a fair few images of Staithes, for obvious reasons, but this year it’s slightly different. 

The gift of time that the lockdown brought with it resulted in a flurry of drawing activity in a whole range of sketchbooks, and many of them are included: here’s the cover – I expect to have the books printed and ready by the first week in July.