Creative compost and joining the dots…

Music credit: Stepping Stones, Laura Platt

Creative compost

Sometimes people ask me how I copy my sketchbook pages into paintings. The answer is I don’t…

I don’t think of my sketchbook as a precursor, a rough draft, or a plan to follow.

It’s more like creative compost.

Slow growing sparks

Sketchbooks are the place where ideas are scattered, layered, scribbled, left to percolate.

Some grow slowly. Some never go anywhere. Some spark something else entirely.

I come back to pages from years ago that have been quietly waiting for me, I spot something and and think “yes, this”…

And sometimes things just appear in my paintings because of artistic muscle memory, things get lodged in the artistic psyche, embedded into the visual venacular because they were once explored and unpacked in a sketchbook.

A sketchbook can be the compost and soil where ideas take root, the archive where ideas rest or the workbench where they’re shaped.

Trust the dots will connect

Nothing is wasted, everything feeds everything…

I like this idea from Apple’s founder Steve Jobs, he’s talking about life, it also applies perfectly to sketchbooks and art:

“You can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something, your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life.”

~ Steve Jobs, Stanford Commencement Speech 2005

‘Trust that things will somehow connect in the future’ seems like a great philosophy for art making.

My sketchbook isn’t where I plan a painting, it is more like the soil, the compost, the place from which everything grows, the place from which all the dots eventually connect…maybe.

Art supplies

• The sketchbooks I am using in this video is the Venezia Book from Fabriano.

• The heavy body paint is called Sennelier Abstract Innovative Acrylic Paint

• The High Flow Acrylic paint is from Golden

• The Mixed Media paper is from Fabriano

(Some of these links are affiliate links, if you buy something through them, I might earn a small commission, at no extra cost to you. I only ever share the products that I use. )

A sketchbook of fragments

This video for was filmed in December 2023

In this video I show you the progression of some abstract paintings, I take you inside a couple of my sketchbooks and share a specific approach I sometimes use to start and fill a sketchbook….I also share a few books I’m currently inspired by.

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Original Painting: A Joyful Home Two

If you ever find yourself with an assortment of paper scraps, abandoned sketches, old art excercies or leftover bits from other projects you may like to try this. Instead of letting them pile up or throwing them away, turn them into a creative and joyful sketchbook practice.

I call this my Sketchbook of Lost and Lonely Fragments, it’s a low-pressure, intuitive way to explore composition, color, and mark-making.

Getting started

• Collect scraps of paper, painted off-cuts, patterns, abandoned doodles, or any interesting textures and colors that speak to you. These could be anything from torn magazine pages to leftover swatches of paint on a palette.

• Randomly glue them in to your sketchbook. Try not to overthink this bit, start adhering these fragments across the pages of your sketchbook.

• Use the whole sketchbook. Work through your entire book, placing snippets on each page. This disrupts the intimidating blank page and provides a playful starting point for future creativity.

  Developing the pages

• Once your base of fragments is in place, you can revisit the pages at random and begin developing them further:

• Explore intuitive mark-making. Use pens, pencils, markers, or paint to add details. Try drawing lines, shapes, patterns, or shading to interact with the fragments.

• Experiment with composition. Let the placement of your scraps guide your creative choices. Try and create a balanced page by emphasising certain areas, using colors and exploring contrasts.

• Play with different materials. Collage, stitch, paint, or even cut through pages to create unexpected layers.

• Let surprises happen. Approach the process without a fixed outcome in mind. The goal is to stay playful and see what emerges naturally.

  Why you many like to try this approach

• It reduces the pressure of perfect. By starting with an already ‘disrupted’ page, you bypass the fear of the blank page.

• It encourages playfulness. The randomness of the fragments leads to spontaneous and surprising compositions.

• It fosters creative exploration. Working in this way encourages new ideas, unexpected juxtapositions, and unusual combinations.

• Turns scraps into treasure. Re-use your abandoned art experiments. What was perhaps discarded now becomes an integral part of a creative process.

I think creating in this way is an invitation to embrace imperfection and spontaneity. It’s a reminder that art doesn’t need to be pre-planned or polished—sometimes, the most exciting discoveries come from embracing the unknown and unexpected.

So consider this a small invitation to gather your scraps, open your sketchbook, and start creating.

Books and links

• Mark Hearld Workbook published by Merrell 2012, words by Simon Martin. You can follow Mark on instagram

• Picasso on Paper, a catalogue from the The Royal Academy of Arts 2020, to accompany the exhibition of the same name. There is a Youtube video of the exhibition here

• Brian Wildsmith, 123 first published in 1965, by Brooklyn Art Books for Children. There is a website cataloguing Brian’s books, art and illustration here or there is an instagram account managed by his family

  The two sketchbooks I show is this video are 1. The Venezia Book from Fabriano and 2. A3 Ebony Artist Sketchbook from Daler Rowney.

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One page sketchbooks

In this video I show you how to make a simple sketchbook from one piece of paper and a way to tidy them up by gluing and cutting.

I make these simple one page sketchbooks very frequently and have for many years. There is something extremely tactile and pleasing about their intimate scale. I like the fact that it’s just one piece of paper, no pressure, no expectations, it feels expansive and freeing.

The great thing is that you can make them from any paper you have, I happen to have a lot of heavy watercolour paper (350gsm) and I use that but you can use what you have to hand, you could even use cheap computer paper. These sketchbooks end up with 8 sides, so the end result will always be an eighth of the size of the paper you started with…

I sometimes begin the art work before the page is folded into a sketchbook, there is something about the surprising and unexpected compositions that come with the folding which I enjoy.

I’ve made them from abandoned drawings or from scrap pieces of paper, reusing and recycling and making something from not very much. I might take a painting that hasn’t quite worked and use it for the start of one of these art books, adding collage, painting over sections, turning the unloved into the loved.

Thank you to artist Sue Brown for the idea of gluing these sketchbooks. you can of course just make them by folding and one cut if you want to keep them super simple (the gluing helps if you are using thicker paper and want to neaten them up, because thick paper doesn’t fold as well and so the end result can get a little wonky.)

Inside the art journal of Frida Kahlo

THE DIARY OF FRIDA KAHLO: AN INTIMATE SELF PORTRAIT

In this video I take you inside the art journal or visual diary of the artist Frida Kahlo. I share the book: The Diary of Frida Kahlo: An Intimate Self Portrait published in 1995 by Abradale Press an in-print of Abrams Books, with subsequent reprints in later years. You can read more about this book on the publisher’s website, it is still in print today…

It’s a book which I come back to time and again.

Frida Kahlo, one of the most iconic artists of the 20th century, was born in Mexico in 1907 and is famous for her self-portraits, characterised by vibrant colours and powerful symbolic imagery,

This book fully replicates 170 pages of her visual journal or sketchbook. She worked in the book for the last ten years of her life between circa 1945 and 1955 and it gives a intimate insight into the woman and the artist.

INTROSPECTION AND EXPRESSION

Her diary or sketchbook, I think, reflects both a deep introspection and bold self-expression. She has clearly used this book as a means of exploring her inner thoughts, emotions, and personal experiences, her identity and her place in the world.

IMAGERY AND SYMBOLISM

It’s packed with symbolic imagery, metaphors, personal, political, religious and cultural iconography all patch-worked together.

Pages from Frida Kahlo’s visual diary

EXPLORATION AND EXPERIMENTATION

It also shows all sorts of artistic exploration and experimentation, she mixes up various techniques, styles, and art materials. She combines elements of realism, surrealism with symbols and motifs to create a visually rich, and at times bewildering and beguiling whole.

I think she is exploring her personal pain and suffering and yet it also clearly demonstrates her magnificent wit, playful spirit and vibrancy…

Her journal feels like a significant work of self-expression, resilience and creativity…and I think it’s just fascinating.

Making collages to inspire paintings

In this video I share a process I use to help me find new ideas and compositions…

CREATING COLLAGES

I make photocopies of things I’ve created, such as pages in my sketchbook, I collect together abandoned drawings, and offcuts and oddments from my art practice and I use all these pieces and fragments to create temporary collages which I then photograph.

The photographs are then used to inspire further drawings and paintings and then those drawings and paintings might be used to inspire something else…its a creative stepping stone.

A temporary collage made from old drawings, and photocopies of things I’ve created

FOLLOWING A BREADCRUMB TRAIL

Art making is often like following a breadcrumb trail through the forest to an unknown destination… I never quite know which path will lead to something magical and which will lead to a dead-end. I like the fact that making art can feel like a journey into the unknown...

A painting in my sketchbook (left) inspired by a collage made from pieces of an old magazine (right).

COLLAGES MADE FROM MAGAZINES

If you don’t have offcuts of your own art to use to create a collage, you could try with pieces cut from a magazine.

Above is a small collage I’ve created by cutting interesting bits and bobs out of a magazine.

Creating a composition from random found shapes and pieces is like constructing a puzzle… it involves lots of questioning and thought and is not always as easy as it may appear. ‘Does this look balanced? Is this interesting? Is it too busy? Is it too boring? Does it work as a unified whole? The sort of questions you need to ask when creating any art work are tested by this type of excercise. In all these experiments, I’m seeking discoveries, learnings, revelations…flexing my creative muscles.

I believe most artist’s have a seeker’s soul. Looking for fragments of ideas, trying to figure things out, attempting to join the dots, make connections, piecing things together to better understand themselves and the world around them. Trying to find out who they are as artists and how they want their art to look, feel and be in that moment…

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This mindset shift which has helped the most…

Music credit: Ludlow, Masterpiece of Mess

In this video I talk about how my art making changed dramatically when I stopped concentrating on the flaws in everything I created and started appreciating and seeking the things I loved about my own art. This change allowed me to appreciate my personal sensibilities, tune into what made my art feel like mine and improve my skills.

I love this quote from Ira Glass, the American writer and broadcaster. It is about writing but is true and applicable to all forms of creativity…

“All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple of years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer.

And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have.

We all go through this. And if you are just starting out or you are still in this phase, you gotta know it’s normal and the most important thing you can do is do a lot of work.

Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

IRA GLASS QUOTED IN 2009 WHEN TALKING ABOUT THE THE ART OF STORYTELLING ON CURRENT TV

This idea is true not just for beginners but for everyone who is at a point of transition, or trying something new or integrating a new process into their existing approach.

Our ambitions can be greater than our abilities and that is just part of the creative process…my advice is to keep going and keep paying close attention to what you like, enjoy and care about in your own work…

Mixing art supplies

Today I’m chatting about mixing media and combining art supplies…

CONNECTION WITH THE MATERIALS

There is something about the physicality of creating art which I love, the connection to the art materials is part of the joy. I try and choose my art materials with intention, they influence and inform what I make. I relish the sensory and tactile nature of mixing the paint, touching the materials, how the paper feels, the physical connection to what is on the page. I enjoy leaving my mark on the page, the evidence of the physical act of art making is an integral part of my art…

UNEXPECTED DELIGHTS

There is real delight to be found in mixing different types of media and art supplies on one page, the visual variety, the different sensibilities of different art materials combing to create something surprising, interesting or unexpected.

INSPIRED BY THE PROCESS

When making art in a sketchbook, the outcome is not so important, this allows a certain amount of freedom to explore different processes, materials and combinations of materials. The magical element is often what is discovered about the way materials can be manipulated, how they play together...

Abstract art and art books…

In this video I share a little of what I am up to in my art practice at the moment, painting on paper, the art books I’m currently reading and loving and a few recent adventures within my sketchbook…

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Original Painting on Paper: A Vibrant Life One

ART BOOKS: John Walker, The Blue Series, Messums Art Gallery, Catalogue, published in 2023

David Mankin, Remembering in Paint by Kate Reeve Edwards, published by Samson & Company 2021

MUSIC CREDIT: If I wrote you a song, by Melanie Bell vie Epidemic Sound

Abstract art: progression and process

Today I wanted to share a little insight about how my paintings progress and develop. I thought I’d show you some abstract paintings I’m currently working on at different stages of un-dress and un-doneness.

ALIGN THE PROCESS WITH THE INTENTION

Every artist has a different process and it’s important that the process you choose to use or develop reflects the things you are interested in. Our processes are a vital part of the mix, they are part of our art decision making, part of how we want our art to feel and be.

There is no one way to paint a painting. I try and ensure that the way I paint a painting emphasises and aligns with my sensibilities and reflects how I want my art to feel…

So for example I love delightful details, layers of complexity, rich maximalist combinations, I want my art to be bright and playful but also have a depth and complexity. I enjoy exuberance AND control. I like a sense of seeking and finding. I enjoy my paintings when they feel like they have a history, like they are interesting objects with a past. I want to celebrate beauty in the mundane. And because I have really thought about all this, I am better able to develop art making processes which give me these results.

TWO QUESTIONS

So in a nutshell it is useful to think “what are my paintings about?” and “how can my processes support and align with this?”

My favorite types of sketchbook

WHY I LOVE SKETCHBOOKS

Sketchbooks are a place where I make art for myself. The pages are not necessarily filled with ‘sketches,’ the art is not necessarily a draft for something more important, although it can be, I think of my sketchbooks as a place where I experiment and express myself. Sketchbooks are where I gather together the hints, whispers and clues of my artistic practice. Sketchbooks are the filing cabinets for my art making. They are a place to collect and curate small delights and large curiosities. They are a place to make for the joy of creating, a place to find a path through, problem solve, follow a thread. They are both a homecoming and an adventure…

FILLING UP A SKETCHBOOK

I used to abandon sketchbooks after a few pages. Now I try to always fill them up, I’ve found that the more art is in a book the more inspiring I find it to work in, it gains a momentum, I often prefer what I’ve made in the second half of the book. There is something about a full sketchbook that gives me pride, the fact I am able to keep going and fill one up, it feels like an achievement.

I still find the first few pages of a sketchbook to be a little daunting though, sometimes I don’t even start on the first page, but rather I start a few pages in and circle back to fill in those first few pages when the sketchbook has found its footing…and I’m feeling more assured.

MY FAVOURITE TYPES OF SKETCHBOOK

Here are the types of sketchbook I use the most, these are just my personal preferences, the ones I like to use or buy.

1. VENEZIA BOOK FROM FABRIANO

I use different sketchbooks for different things and tend to have more than one on the go at once. For my main studio sketchbook I use a Venezia Book from Fabriano, it is my favourite. I like the paper which is 200gsm or 90lbs in weight, I use the version that is 23cm x 30 cm `which lays flat. It’s a good size for me and can take quite a lot of collage material and wet paint.

2. STILLMAN & BIRN ZETA RANGE

I buy the square version of this sketchbook which has beautiful smooth 270gsm paper and is 19cm x 19cm.

3. POCKET SIZE CONCERTINA SKETCHBOOK FROM SEAWHITE OF BRIGHTON

This is an accordion or concertina sketchbook made from long folded pieces of paper. These are small, portable and quick to fill as they are only 17.5cm x 9cm. The paper isn’t that thick but because the book is constructed from two long sheets of paper joined together it feels thicker than its 140gsm paper weight. It comes with a hard carrying case and I find it great for working outside or carrying about in my bag. It has two long pieces of paper, folded into pages and I enjoy working across these expanded surfaces and folding the pages in and out to see what I have created with new eyes.

4.DALER ROWNEY A3 ARTIST’S HARD BACK SKETCHBOOK

These hard backed sketchbooks are really large, it’s an A3 size which means a double page spread is A2. The paper is smooth acid free 160gsm and it contains 48 sheets or 48 double page spreads.

5. HANDMADE AND HOMEMADE ART BOOKS

As part of my overall sketchbook practice I love making all sorts of quick handmade, small art books and sketchbooks. I often make them from offcuts and oddments and abandoned and unloved pages and scrap paper and they become something new and interesting. To me a small homespun sketchbook feels quite liberating and joyful to create in. The stakes are low and so I perhaps create with less weight of expectation and more experimentation…