More than thirty a year.

The Textiles Department at the Glasgow School of Art in the 70s and 80s had a quite   structured curriculum and although we rather rebelled at it then, I have come to appreciate how much it has grounded us in the disciplines of drawing and painting.

It seems to me now that all my work either begins or develops with drawing.  But drawing is a muscle that must be worked.  It is the cry of many visual artists that we never seem to achieve the amount of drawing that we set as goals in our heads.  No matter how much you do – you always feel that you must do more.

One of the many British artists that I admire is Fred Cuming RA. His work can be seen at www.Fredcuming.com.  In the introduction, by Richard Holmes OBE, of his book ‘Fred Cuming RA, a Figure in the Landscape’ Ed. by Christian Tyler, he explains Fred Cumings dedication to drawing,

  “But his sketchbooks are perhaps the most impressive, and fascinating, proof of this extraordinary industry.  They are not conventional artists’ pads,but proper little pocket- books, small, black-covered, much stained and battered.  They go with Fred Cuming wherever he is, suddenly sprouting open in his hands, and he gets through more than thirty a year”.

As I use similar types of sketchbooks, I realise that although they are small, this still equates to a substantial amount of work and time.  But the main point is not just in achieving a library of sketchbooks, but in adopting the attitude of using them as a tool.  To carry them with you and acquire the habit of continual jotting, much like anyone else might make a ‘note to oneself’, often quickly before the moment is gone.

They are, of course, full of landscape sketches: some precise notations in exquisite pencil line, and others slashed in with broad ink strokes or washes made with thumb and spittle.  But what they also show is that he is constantly spotting things – buildings, plants, people, animals (especially birds) wherever he happens to be..

So now the goal in my head is set at thirty pocket sketchbooks per year.  Unfortunately, I have never managed to attain that, but my sketchbooks keep me company and I can record whatever I spot.

Sketchbooks

I suppose that sketchbooks are the basic tool of most landscape painters.  I can’t remember ever not having one, in fact I normally have several on the go at one time.  I’ve learned to stash one in every bag, pocket, or rucksack so that there is always one available.  Everyone learns by mistakes and I have had many – setting out for the day, driving for miles, getting to a great location, to find that I have forgotten my sketchbook.

To keep things simple, I carry a small sketchbook and a selection of sharpened pencils, then it is easy to jot down simple lines and tones.  I have learned to work quickly, because you have to keep your wits about you nowadays on country roads.  But that is often the best part of drawing outdoors, to work fairly quickly, record something of interest and make some marks.  I am not making a picture – it is the excitement of taking a risk, see what might happen, make a mark, just for the sake of it.

Who owns this l…

Who owns this landscape
has owning anything to do with love
For it and I have a love affair
so nearly human we even have quarrels

Who owns this landscape
The millionair that bought it
or the poacher staggering downhill
in the early morning
with a deer on his back
…. or I who am possessed by it.

Norman McCaig
A man in Assynt