Madame was off life drawing at the university today so I thought I’d better put my money where my mouth is and make a start on painting that leaf. There’s an algorithm, a way of getting on with a painting that side-steps all those anxious moments when you doubt whether you’re up to it. I say this because from time to time I get very blocked with negative thoughts and this is the way that I deal with it. I break the task down into easy steps and in the process I render the subject ‘strange’ – I transform it into something I’m not in love with or in awe of in order to get on. So I start with lots of photos, because these ephemeral subjects can change very quickly – they curl up and dry out and they change colour dramatically. You can already see that happening above, in just a couple of days the leaf has got substantially more brown. The good news is that I’ve already got the colour set that attracted me to it in the first place.
So photos – lots of them to refer back to, and then I make a tracing of just the outline and the main features on to tracing paper, strengthen the image with indian ink, grid it up for later in case I change the size, and then reverse the tracing paper so I can transfer the image to a sheet of watercolour paper. The next stage is to carefully draw in any areas like holes, that need to remain completely white, with drawing gum – that includes the entire outline. At this stage I’m working on an increasingly remote stage of the original image, turning the page around to work – which all helps with the distancing process, because the painting that will be is not a leaf but a painting with its own set of rules, rituals and standards. I can move things around slightly, emphasise some parts and move some back in the interests of clarity. I can even alter colours just a bit on aesthetic grounds.
When all that’s done I can start painting, in this case mostly wet-in-wet which demands good quality paper. The first few trys might well be practice runs, clarifying any methods I’m not sure of and practicing the colour mixes. When I first started a couple of years ago, Julia Trickey – our marvellous tutor – had us do a colour exercise using only three primary colours – printer’s primaries – cyan, magenta and yellow which can all be bought in warm and cool hues according to your taste. I’ve stuck with the same three colours ever since, because it saves lugging around a massive collection of dried up tubes. As ever the better the quality the easier it goes. Oh and a tube of lamp black is sometimes useful right at the end.
Why am I writing all this here – well it’s certainly not because I’m an expert because I’m not one of those by a country mile, but I enjoy it and I notice things – structures, textures, colours and minute details that really help me to get a better purchase on field botany – and I’m not an expert in that either.
I don’t hold much with notions like exceptional talent in painting and music, writing, or green fingers in allotmenteering. It’s not about luck it’s about practice and I think it’s one of the great crimes of our education system that so many young people leave full-time education having been talked out of their creative potential. So I’d say to anyone have a go! – no-one dies if your early attempts aren’t very good and you’ll get better as long as you don’t talk yourself out of even trying, it’s much better to be an amateur painter than a professional charlatan. Just think – if the thought of watching politicians lie in their teeth, unchallenged by spineless journalists gives you the creeps, redeem the shining hour by doing a painting or writing a letter, anything. Pay no attention to them, they’re not worth it, but vote well; vote carefully because global heating and species destruction are symptoms of a corrupt ideology.
And speaking of trying, the Christmas puds survived their spell in the pressure cooker and they’re all packed away in the cupboard. The allotment is looking very stripped back now but there are a lot of seeds germinating and quite a few winter vegetables just about to come into their own. I took the temperature of the compost heap just to see if it was feeling well, and it’s running at 25C – so there’s obviously some microbial action going on, but not so hot as to drive the worms down. I even put a temporary hard roof over the first bay to keep the rain off.
Oh but I do hate these dark nights!