Northcliff Hill

After weeks of gorgeous Spring weather our little band of only three sketchers decided to go up to the second highest point in Johannesburg, Northcliff Hill for the 360° view. It turned out to be a cold, windy, overcast day so John and I, in our light spring-y clothing, cowered beneath the ridge where we couldn't see much of the scenery, but were at least out of the grip of the chilly blast. Barbara came a bit better prepared in a warm jacket, so perched on a rock with more of a vantage point, and sketched us!

 I sketched the landmark Northcliff water tower, struggling with perspective again - although the top of the tower IS wider than the bottom, should I paint it so?... I thought not but should have - mine doesn't look much like the real thing - when John posts his version you'll see what it does look like! I spotted a little bit of Joburg skyline in between the long grass and somebody's eagle's eye home - what a place to live!

When our chattering teeth interfered too much with our sketching abilities, we decided to go back down to the suburbs and warm up over coffee and lunch at the Mugg & Bean. I faced the view that attracted me most - the display of yummy looking cakes and pies, managing to control my impulse to order one of each by drawing them instead.

Earlier in the week I had been painting a mural for the local primary school concert, as I mentioned before. I took a small break to sketch the children rehearsing below where I was on the stage, in the hall - very sweet but very lively and multitudinous!!

Glazed over

I've been painting more, sketching less lately (as well as painting the backdrop for our local primary school's annual concert again, many years after my children left there and grew up) so another long absence here - I attended the final session of Greg Kerr's course I posted about here, last week after missing the third one while on my travels. This was about learning how to glaze with oil paints - the images gleaned from our original source material - mine being on 12"x12" canvases, my ladies with umbrella, black and white cow, wooden fence and seed pod, which I changed from a honey-locust to a jacaranda - an attempt at iconography, but too hard and complicated to explain!

One panel started with a bolus, or red oxide ground, the layers of warm and cool colours built up slowly and patiently, drying well between each one (hard for somebody used to instant results with pen and watercolour)

One on a white ground, where the layers produced much more brilliantly coloured results, and took a lot longer to get to neutral shades and depth of tone.

 And on a green ground, which produced different results again of the layers of transparent colour - we were to lift out areas from each glaze to preserve colours we wanted to keep. The white crayon outline of the original drawing ended up as the 'radioactive' glow around the cow.

We finished the paintings off by adding veils of pure colour, and lastly, very sparingly, white. They are very dark, shiny (because of the Liquin used as medium) little paintings, hard to photograph, and I don't know if I would paint like this as a rule, but I'm very happy to know how to do it.
We worked on our three acrylic paintings too with oil glazes, tying them together as a triptych, lifting and knocking back, and I learnt another blending technique with the fan brush, which I've never quite known what to do with, to get a highly polished looking finish - still thinking about those. I feel, at last, as though I'm getting to know exactly what to do with the wonderful 40th birthday present my husband gave me mphwmph years ago of a bunch of oil paints, canvases and brushes!

Fast lines

On Saturday our Joburg sketching group went to Brightwater Commons, a shopping complex with a big open air area with markets, exhibitions, children's playgrounds and a skateboard park. We decided to try and sketch the acrobatics of the skateboarders - what a challenge that turned out to be! These two sketches took me all afternoon - most of the time was spent staring at the flying figures, trying to work out which limbs went where, a mental 'snapshot' and then the quickest of lines to pin them down on paper.

I used my Lamy fountain pen, filled with the precious Noodlers Bulletproof black ink that Liz Steel very kindly brought all the way from Sydney to Lisbon for me, which allows watercolour washes over it without running into black and grey mess (though sometimes I enjoy that effect, so have other watersoluble pens in my kit). In the bottom sketch I added a second layer of figures over the black line ones, with another treasure bought in a Lisbon art shop - Prussian Blue Ecoline Liquid watercolour in my thin waterbrush - voila, no clogging! - its such a lovely drawing tool, especially for these fast flowing lines.

After Lisbon... France

After the anticipation, preparation and high excitement of Lisbon, it was a different kind of joy to unwind in the northern French countryside of Pas de Calais. Our daughter and her boyfriend welcomed us to their lovely farmhouse home and we proceeded to enjoy all the charms of a tiny French village - from the noisy next-door rooster to the cow who craved human company, the visiting Dutch orchestra, the family jam-producing homestead, and the drives to surrounding Somme battlefields, village markets and sea and riverside towns, it was a feast of new, blissful and picturesque experiences. I would have to spend weeks, slowly, to sketch even a tenth of it, but this was a sociable, and mobile - lots more walking! - time with family and friends, so these were the few scenes I did get into my sketchbook. I hope to get the chance to do lots more some day.  

Sitting on the doorstep of the house, looking out of the gate to 'The Cité' - all of ...six? houses in a row, with the cow's field behind them.

The gateway to The Abbaye, where we gathered one evening with the villagers to listen to the orchestra and choir from Holland - heralded by a march through the town with bagpipes (?!) and a very quaint sort of barrel orchestrion.

The garage housing a very old Landrover that valiantly transported its travellers most of the way round Europe, but depositing them rather suddenly near Barcelona, and needing to be towed back to its resting place under the grape vines.

Interludes and Airports

I'm still depositing sketches from my trip while I'm catching up on other things at home, my neglected painting course and a little spring cleaning included...

We had to leave the Zambezi River a little earlier than the rest of our group so I could catch my flight to Paris and Lisbon. We first spent a night in Lusaka in the Ridgeway hotel which is managed by an old friend.

 He kindly arranged for his driver to take us into town for the afternoon so we could look for some colourful local chitenge cloth to take to our daughter in France. Patrick waited patiently while I scribbled down a sketch of a little street scene, and then again at the curio village - after having been persuaded to buy some of their wares - a group of women who bead and sew and hope against hope that someone will come along to shop.

 Early the next morning we caught our flight back to Johannesburg, where I had a swop of suitcases and a long wait for my flight to Paris.

Nothing like sketching to while away the time, I started on a long line of people sitting and waiting for our flight to be called, and came upon a woman who was... sketching me!! I thought she had to be going to the same symposium that I was, and when I finished, went over to ask her, but no, she was just passing the time.

One last airport scene in transit in Paris before the adventure in Lisbon began.

Before Lisbon... Zambia

In complete contrast and as a gorgeous relaxed prelude to the busyness of the week in Lisbon, my husband and I were lucky enough to join my two sisters, their spouses and a group of friends, on an idyllic holiday on the Zambezi River in Zambia. I didn't do a lot of sketching - my few attempts at drawing the abundance of wildlife - lions, hippos galore, elephant and crocodiles, buffalo, impala and kudu were quickly abandoned as either they or the vehicle moved, or I was too entranced to take my eyes off them to reach for my sketchbook and brushes. These were some of the quiet moments I did manage to get down on paper...

A view from a pool deck at the lodge down the river.

Hippos grazed and grunted contentedly near the tented rooms - I sat on one of the patios and sketched them and a group of baboons picking at seeds on the mud flats - ready to run inside if they came any closer!

Boats took us to some watery by-ways, where scores of varieties of birds nested and fed, as well as some huge crocs and the ubiquitous hippos, the 'pigeons of the Zambezi'. I was grateful for the expert knowledge of the guides as to where to get out and stretch our legs! This was my husband, brother-in-law and his brother fishing for barbel. On another occasion, one of them had caught a fish from the boat and was reeling it in, when a croc shot up and took it, Matt finding himself with this huge toothy beast on the end of his line, a metre away - which fortunately turned and broke it before diving back into the deep.

Vincent, the fishing guide on this trip (my sketch doesn't look much like him, another moving target!), worked hard, baiting all the hooks and advising where to cast - he was extremely knowledgeable about the birds, trees, in fact all the flora and fauna, as were all the guides - getting a little time to fish himself in between work.

The bar hangs over the water and underneath a magnificent sausage tree, adorned with enormous sausage-shaped seedpods. It was a bit chilly in the evenings to make use of this beautiful sundowner area in July, two outdoor fireplaces inviting us to gather around and share every day's wealth of experiences.

The white fronted bee-eater, as my sister Vivienne noted, was the bird of the trip, there seemed to be one around or ahead of us, wherever any of us went, by foot or landrover. One of the guides said they try to lead people, or baboons to bee-hives, so that as you take the honey, they get the bees, wiping the stings out first on a rock - clever little creatures!

...and a jacana digging for food in the mud puddles.

On my last blissful day in the bush, we could choose to go down the river by boat cruise - which I did, having an unforgettable encounter with elephants along the way (photos below) - land vehicle, or canoe, all meeting at a spot on the river bank where a delicious picnic lunch had been prepared for us. I sketched the staff having a well-earned break before clearing up and getting us back via boat cruise or game drive for one last, perfect evening on the Zambezi.

After the Symposium

With all the tantalising glimpses of everyone's sketchbooks and the huge array of styles from other fascinating sounding workshops milling around in my head - and my husband and son having joined me as the symposium drew to a close - we caught a train a little way down the coast to Estoril. We had no idea what to expect, just that it was close enough to Lisbon to go back and wander around some more if we liked (which we did). It turned out to be a very popular beach resort, as we started to suspect on the train ride with all the beach bags, umbrellas and brightly dressed co-passengers travelling with us.

I sketched this from our hotel window, with a mind on Melanie's workshop, not putting in all the details of the surroundings, but the simple story of a couple, on holiday at this seaside town where an old castle overlooks the bay

The next day we joined the throngs on the beach and I tried out my 'unschooled' version of Richard Camara's 'Lining over Colour' workshop. I think I overdid the random blobs of colour underpainting trying to portray the masses of bright umbrellas!

Then an interesting mixed media sketch - inadvertently including sunscreen and sand with the watercolour...

 We caught the train back to Lisbon to do some more sight-seeing and tram-riding. Walking, trying to see as much as possible didn't leave much time for sketching, apart from a quickie of this brilliant green tiled building in the Rua do Secula, where we took a short break in the shade. The beautifully tiled buildings in Lisbon have to be seen to be believed - my daughter later asked if these tiles are really that colour... yes, as far as I can match it with paint, they are!

We came across a few stray symposium sketchers still scattered around the streets of Lisbon, working away at their sketchbooks and easels, including Marc Holmes. I had the chance to look over his shoulder at the wonderfully loose pencil linework he does before applying watercolour washes to his buildings - which inspired me to do this one when we were back on the beach the following day. I was really pleased and felt - just as it was time to move on - that I'd just begun to get into my sketching stride.