Artist Interview: Sasha Compton

 

Artist and designer Sasha Compton speaks about the interconnectivity between her ceramics, printmaking and drawing, and her love for St Cuthberts Mill Somerset paper.

Sasha Compton is a British artist who creates a variety of hand-built and painted ceramics, giclée prints, tiles, lino prints, lampshades, and original art. Her work has been featured in lifestyle magazines including Country Life, Homes & Gardens, and Tatler.

Prints on Somerset by Sasha Compton

Sasha - tell us about your practice and your journey to get to where you are now.

I have always been creative from a young age and have wanted to be an artist for as long as I can remember. I was brought up in a creative family in the countryside, if I wasn’t outdoors, I was always making something in my mum’s studio. At a young age I felt I could express myself better through visuals than words (I later found out I was dyslexic). At school, art, textiles and ceramics were my best subjects and I was awarded an art scholarship at the age of 15.

I went on to Central St Martins (UAL) for an Art foundation where I learnt about conceptual art and the importance of ideas, beforehand traditional skills and research had played a huge part in my creative journey. I specialised in illustration at CSM. I then went on to Chelsea College of Art (UAL) to study a BA in Graphic Design Communication, where again I focussed on branding and illustration, I always had more of a physical approach to briefs than my peers who were very digitally focused. This worried me at the time but now I am grateful to be able to do both.

After completing my degree, I did a year of London-based internships in the creative industry ranging from advertising, graphics, textiles, and fashion. I worked as a Graphic Designer for 7 years and settled at a fashion company in Amsterdam working my way up to a Senior level. I got to a point where I wanted to do my own thing and create / design for something I fully believed in. I always kept my art going and as interest grew, I decided to focus on being a self-employed Artist / Designer in 2020. I now take on a number of design commissions a year as well as creating art full-time and love having a mixture of art and design in my creative practise and life. I feel it is the best of both worlds and I try to use my skills and experience to my best ability; straddling the role of an Artist / Designer.

Can you describe your creative process and where you find inspiration for your work?

For my personal art I am inspired by what I know best; nature, classical art and colour. I am particularly engaged in the idea of mixing old with new in a joyful way, so I love traditional topics that are recreated with a fresh colourful perspective. The beauty of nature always amazes me, as does the power of colour and positivity. I am very inspired by hand made, crafted objects – seeing a human mark or imperfection on something makes the item so much more special and unique in my eyes and I try to bring this into my art by working freehand or using unpredictable materials or techniques.

Do your artistic practices in ceramics, printmaking, and drawing influence and interconnect with one another, or do you treat each medium as separate and independent from the rest?

They do interconnect yes! I sketch a lot. Before making a ceramic artwork, I will always sketch my designs and these freehand illustrations often end up as prints (or recently tiles for my Ca Pietra collaboration). I see my work as one voice in different mediums, and enjoy exploring the different wags of showing an idea. Sometimes I prefer the sketches to the ceramic work, and sometimes what I paint on a plate might work really well transformed into a lino print. Of course, not everything works out but that playful exploration is a significant part of my process. I have to play around a lot to get to end result and that makes my journey more exciting for me. 

With your printmaking and drawing, what are your go-to papers to use and why?

Being a lover of imperfections and character, I use a textured paper with deckled edges (or hand deckle the paper myself). St Cuthberts Mill Somerset range is my ‘go to’ range. The 500g radiant white textured paper is great for drawing and painting, I love the deckled edges. And 175g soft white book is a great paper for printing where I can get print easily with the thinner weight of paper.

You have done a lot of collaborations with various companies and artists – what has been your most exciting project to date?

I feel so lucky, I am proud of all my collaborations! So grateful for all the support I have had so far. Collaborations have helped me push my boundaries and I love working with other creatives, it’s a nice change from being a one-woman business. Recently I painted an egg for the Queen’s Jubilee celebrations which was on show in Chelsea via the Elephant Family. The egg was inspired by a Faberge egg and Faberge saw it on show and requested it for a Faberge exhibition, this was so special to me. I have also been commissioned by some incredible interior designers such as Martin Brudnizki for a couple of hand-painted projects which I loved every second of, it was so inspiring and an amazing opportunity!

If you could collaborate with any artist, living or deceased, on a project, who would it be, and what kind of project would you want to work on together?

Wow, that’s a tricky question. Some of my favourite artists ever are Grayson Perry, David Hockney, Picasso (his ceramics in particular) and Venessa Bell. So, a messy studio day with any of them would be dreamy. I would love to do a silk scarf collaboration or something textile based as I always feel my work would translate well onto fabrics, or perhaps paint a huge mural somewhere unusual! I loved doing the light installation at Frameless Gallery, a new challenge is always appealing to me.

Prints on Somerset by Sasha Compton

Links

www.sashacompton.com

www.instagram.com/sashacompton_design

To learn more about Somerset printmaking papers visit our website.

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.

Prints on Somerset by Sasha Compton

Colour-lifting Techniques with David Poxon

 

Have you ever wished you could remove or lighten a stroke of watercolour without completely ruining your painting? Colour-lifting is a powerful technique that allows artists to manipulate and refine their work with precision. In this blog post, we'll delve into the art of colour-lifting, guided by the expertise of renowned watercolourist David Poxon RI NWS.

David Poxon, a master of the watercolour medium, shares his invaluable insights and techniques for achieving stunning colour-lifting effects.

What are some creative uses for colour-lifting in your artwork?

It is not possible to make all your compositional or tactical choices for ‘Pure Watercolour’ from the beginning. Retaining some flexibility lets you enjoy the process more without getting stressed that you have wrecked your painting. With the ‘Pure Watercolour’ method preserving white paper for extreme high lights is necessary. However, adding lifting out techniques to your repertoire means that you have more possibilities as you travel through to a completed painting. Adding missing highlight details, and shaping the form of components in your painting can be very nicely achieved by lifting out.

By pure watercolour I mean no white paint and no black paint. Whites are the preserved white paper.

What are the different methods of colour-lifting on watercolour paper? Are there any specific brushes or tools that you recommend for colour-lifting?

Tools first; clean water, a stiff hogs hair brush (best to have a selection of various sizes), and clean kitchen roll. Masking tape also useful (but remove some of its extreme stickiness first, because you do not need to seriously stick it to your watercolour paper as it will damage or lift off colour i.e. loosely stick in position). Use masking tape to get clean edges to shapes. You can also use old watercolour paper or card to define the area you want to lift.

Method; identify the area you wish to lift paint from. Make sure the paint is dry first. Position any masking or scrap paper around the area you wish to lift. Using a barely damp stiff brush begin to ‘scrub’ at the painted area you want to lift. Wash the brush and semi dry with kitchen roll after each time you pass over the area you want to lift, then ‘dab’ the area with kitchen roll. This should start to remove paint – depending on how much paint is on the paper. If you need to lift more paint then wait for the paper to dry, then repeat the scrubbing/dabbing actions. Repeat until you have the result you need. Wait for the area to dry before deciding if you want to keep it as is – or you can glaze over with colour if you think you have overdone it.

How do you achieve a white or near-white highlight using colour-lifting?

It may not be possible to get back to the real white of the paper – depending on the paint you are trying to remove and how many layers. But you can get close with repeated scrubbing and dabbing.

You use Bockingford for your paintings – what qualities do you like about it?

I have used Bockingford CP (NOT) surface 425gsm (200lb) for many years. I always stretch the paper onto wooden boards. With my type of subjects I do not want the paper to warp or cockle, and need my drawing to be accurate (i.e. stay in the position). Additionally, many of the techniques I have developed over the years to enable me to create the illusions of texture and 3D effects on a 2D surface require a paper which is tough enough to withstand some fairly heavy treatment. As outlined above this paper also enables me to apply my lifting out techniques to steer the work in the direction I want it to go. It will withstand a lot of reworking and can take up to 24 layers of wash while still retaining luminosity.

What are some common mistakes to avoid when colour-lifting?

Impatience and not letting the paper area dry before each washing out cycle. Indecision – make sure you practice first – and are clear regarding the area you want to lift out! Good luck!

Watch the video:

Links

View more of David Poxon’s paintings at:

www.davidpoxon.co.uk

www.instagram.com/davidpoxonwatercolours/

www.facebook.com/davidpoxonwatercolour

To learn more about the International Watercolour Masters exhibition David is curating:

www.internationalwatercolourmasters.com

Read our artist interview with David Poxon.

To find out more about our Bockingford range visit our website.

Artist Interview: Curtis Holder

 

Curtis Holder tells us more about his work, after winning the Dry Based Medium prize at the ‘Works on paper’ exhibition at the Gallery at Green & Stone, with his drawing HIRSUTE III earlier this year. Curtis is a multi-award winning artist, including The Tom Coates Memorial Prize at this year’s Pastel Society Annual Exhibition, winning the Sky Portrait Artist of the Year in 2020, and a previous winner of the St Cuthberts Mill award at Wells Art Contemporary held in Wells Cathedral in 2022.


Can you tell us a little about yourself and your practice?

The focus of my practice is to use line to investigate motivations, connections and conversations through the passage of time. I work primarily in the medium of coloured and graphite pencils to create large-scale portraits and figurative works on paper.

Hirsute III by Curtis Holder

Ultimately my work aims to present an interpretation of the thoughts and feelings of others, as well as my own. I use my pencils to pose and answer difficult questions, in the hope of finding a resolution. My subjects sometimes sit uncomfortably within large amounts of negative space. These compositions enable me to feel free and to take up space in a way that I, and some of my subjects, feel unable to do in everyday life. The drawings document the thoughts and conversations of individuals who would otherwise be unlikely to give themselves room or permission to share this part of themselves.

My drawings emerge in a wayward series of febrile lines, which I layer to reveal a subject’s form, movement and emotional intent. Even if the marks initially appear erratic, when resolved, the drawings convey a stillness and calm. This contradiction leads the viewer, myself included, back to the work time and time again to unravel the threads that lead back to the core of the conversation.

Your work is large and involves multiple pencil layers, how do you start a piece like this, are there multiple sketches prior to starting?

I prefer to start every drawing with a conversation while I’m sketching the subject. It’s an opportunity to glimpse into their mind and make a personal connection. My goal is always to translate their emotions and the mood of our encounter onto paper, along with my own feelings and observations. I need to understand them a little, even if it’s fleeting, and I start to achieve this through quick preparatory drawings while secretly searching for more information.

From the initial conversation and sketches I will get a sense of how I want the work to feel, so it’s an emotionally driven process. Whatever feeling I have settled on influences all the key decisions: the composition, the colours and the intensity of the marks. I sketch out ideas for the composition, and when that’s decided I will get the model in position to set about working on the main piece.  Firstly, I do an underdrawing, more often than not using red pencil. The underdrawing is a bit like an architect’s plans - the framework for the final piece. I then build up the features and contours of the sitter’s face and body using complex layers of colour, incorporating spontaneous lines to emphasise form or emotion. To finish I add more spontaneous lines to add structure and final detail which pulls the final piece together.

Dame Judy Dench by Curtis Holder

Your artistic process involves intimate conversations with the people you draw, and your drawings are described as “dynamically tender”, “capturing fleeting gestures and emotions with sensitivity.” How do these personal interactions influence the direction and narrative of your artwork, and do you find that your subjects actively contribute to the creation of their portraits?

Whenever possible I work from life. Conversation is the starting point of all my work, well before I put pencil to paper. The dialogue I enter into with my subjects is a point of connection where we can share our experiences and emotions. It’s where we begin to understand our individual motivations, differences and similarities. It’s the point where, together, we begin to make the work. Mark making is the conduit through which I try to translate and extend that spoken language into something more complex. I hope to present deeper layers of emotion in the work, as well as recording the passage of time we spend together through the multilayered lines of pencil.

You work in graphite and coloured pencils, what qualities do you look for in your paper?

Drawing from Brotherhood 
by Curtis Holder

I prefer paper with some texture and I use high-oil content coloured pencils. I like the idea of a deliberate struggle and dance between pencil and paper. It creates a spontaneous and immediate connection, encouraging unpredictable marks which contribute to the final work.

Looking ahead, are there upcoming projects, exhibitions, or themes you are excited to explore in your future work?

I’m currently artist-in-residence at Leeds Art Gallery where I’m in the process of creating new work for the gallery’s permanent collection, responding to the theme of decolonisation. The residency is part of the UAL (University of the Arts London) Decolonising Arts Institute’s 20/20 programme, which is supporting 20 artists to take up residencies in 20 public art collections, galleries and museums across the UK. I feel incredibly fortunate to be working with the gallery and contributing to this vital conversation around the representation of minority communities in our museums and galleries. 

Curtis Holder receiving his award from Alan Walker,
St Cuthberts Mill Chairman, and Heston Baldwin,
from Gallery Green & Stone

To see more of Curtis Holder’s work visit:
www.curtisholder.co.uk 
www.instagram.com/curtisartist


Curtis Holder won the Best Dry Based Medium at the Gallery at Green & Stone ‘Works on Paper’ Exhibition 2024:
https://www.thegalleryatgreenandstone.com/works-on-paper-online-catalogue

Stretching Watercolour Paper Without a Bathtub by Edo Hannema

 

Stretching watercolour paper to a board is an excellent way to ensure your paper remains taut, so large washes of water don’t buckle the sheet. Standard methods to stretch paper involve using a bathtub or a large tray to soak the sheet. But it is still possible to stretch paper without these items, using tips shared by our Dutch ambassador Edo Hannema.  

Edo’s passion for painting expansive skies and calm waters play a dominant role in his paintings and involves using lots of water, so he likes to keep his paper tightly stretched to a board.

Cornwall Landscape by Edo Hannema on Millford

How to stretch watercolour paper (without a bathtub)

Step-by-step instructions:

• Use a quarter imperial sheet 38cm x 28cm (15”x11”) sheet of watercolour paper. Lay the paper flat on a clean surface that importantly can resist water. 

• Using a soft hake brush, use clean water to wet the paper, by brushing the sheet on both sides at least three times. Flooding the paper with water, so it is thoroughly wet.

• Leave the paper to sit for 5 to 10 minutes, giving the fibres inside the sheet time to swell.

• Measure strips of gummed tape ready to stick to the papers edges.

• Very carefully pick up and place the paper on a dry board. Now the paper is wet the surface is fragile and can easily mark.

• With an absorbent piece of kitchen roll, lightly dry the edges of paper ready to apply the gummed tape. 

• Wet the gummed tape with a damp sponge (not too wet, but wet enough!) and smooth onto the papers edges and board.

• Leave the paper to dry naturally overnight. As the paper dries the fibres contract, but the gummed tape holds the sheet in its ‘stretched’ position, giving you a tight painting surface that will stay flat even when flooded with large wet washes. 

• After your painting has dried, remove the painting from the board by carefully cutting around the edges. Be very careful of your fingers.

Watch the video:

Bonus tip from Edo - How to remove gummed tape from the board

Once the painting is removed, you are left with the gummed tape stuck to the board

• Cut or pull off the remaining watercolour strips.

• With the tape stuck to the board, soak with a wet sponge and leave for 5 minutes. Repeat!

• Loosen the tape with a palette knife or similar. 

• Wipe down the board. It is now ready for the next painting!

Watch the video:

Edo uses Bockingford, Saunders Waterford and Millford paper, and changes the type of paper he uses depending on the primary techniques he is applying for the composition.

To learn more about traditional stretching techniques using a water tray or bathtub, see the article on our website.

Edo's studio

To see more of Edo Hannema’s painting videos visit:

YouTube: https://www.youtube.com/channel/UCuulNUJt3BrrMKbbj2zijOA?view_as=subscriber

View Edo’s paintings at:

Blog: https://edohannemawatercolourartist.wordpress.com/

Instagram: https://www.instagram.com/edohannema.watercolourart/

Facebook: https://www.facebook.com/YeddoHannema

Linktree: https://linktr.ee/edohannema.watercolourart

To learn more about our range of papers visit our website:

www.stcuthbertsmill.com

Artist Interview: Lindy Norton

 

The Crossing by Lindy Norton
Tetrapack print on Somerset Satin

Lindy Norton received a Highly Commended prize with her Tetrapak Etching print called THE CROSSING at the ‘Works on Paper’ exhibition held at the Gallery at Green & Stone earlier in the year. She has been practicing as a printmaker since 1985.

We spoke to Lindy to about the eeriness she achieves in her work, along with what Tetrapack printmaking involves.

The print has a sense of unease as the man is on the crossing, is this an intentional part of the composition?

The unease you suggest in this print is intentional. I like my images to have a narrative, often unsaid and not entirely obvious. I hoped to get some sort of tension in this image, one man turning to look at the other who is engrossed in his phone. It could merely be one moment between two strangers or maybe friends…one is clearly pre-occupied!

The Crossing by Lindy Norton
Etching on Somerset Satin

Can you tell us a little about yourself and your practice?

I am primarily a printmaker although I do paint. I love to draw. Etching is an extension of drawing for me and it is a medium that allows me to explore mark-making. Etching yields the tones and blacks that are elusive in pencil drawing…and so it’s my go to subject for atmospheric prints. I love interiors, empty rooms, shadows, lace curtains…

The people on crossings are a new departure for me. It came about from a holiday apartment last summer in Kefalonia. We were on the third floor and I could look down on people returning from the beach, walking dogs etc. with their lovely long shadows.

I teach printmaking part-time as well as pursuing my own practice. 

Can you explain what Tetrapak etching is, and what it involves? How many prints can you achieve in an edition, with this type of etching plate?

Tetrapak etching is similar to drypoint etching. The only difference is I am using the inside of oat milk cartons. The silver layer is peeled off to achieve the blacks and the line are achieved by scoring with a needle. You can only print about 8 prints before the Tetrapak starts to deteriorate.

What do you look for in a paper to achieve the best acceptance of ink?

I like to print on a heavy (250gsm) soft paper to achieve the best results. I soak this for about 10 minutes before printing. I like a soft paper as it yields into the etched line as opposed to a paper that has more size in it and is harder. 

Dad's Chair by Lindy Norton
Etching on Somerset Satin

Windows, hallways, stairways, and alleyways are recurring subjects in your drawings, paintings, and prints. What draws you to these particular architectural elements, and do they hold specific symbolic meanings or associations in your work?

I am drawn to windows, hallways, stairways…they are re-occurring subjects for me. It feels instinctive. It all began when my parents lived next door to an abandoned workhouse. I was at art college and would go into this building that was mostly boarded up, it was dark and unnerving. But the atmosphere was incredible, and I could sense the history and lives that had dwelt within the walls of the building. It was exciting but un-nerving…. so, I aimed to capture the sense of unease within a series of etchings. I wanted to capture that sense of human presence without stating the obvious and including the figure. That fascination for empty rooms and houses has remained with me.

Looking ahead, are there specific themes or projects you are excited to explore in the future, or new mediums you are considering incorporating into your artistic practice?

Blue's New Coat by Lindy Norton
Hand coloured etching on Somerset Satin

I am beginning to explore different subjects alongside the rooms etc. I love the elevated position. Looking down on people, dogs, animals…with long shadows. People watching, I guess. I am watching them but they are unaware of me so that puts me at an advantage. I am not sure where this is going. I love observational drawing. Narrative is something that I love to explore…meanings within images that leave the viewer pondering.


To see more of Lindy Norton’s work visit:

www.lindynortonillustration.com

www.instagram.com/lindy.norton/

 

Lindy Norton won the Highly Commended prize at the Gallery at Green & Stone ‘Works on Paper’ Exhibition 2024: 

https://www.thegalleryatgreenandstone.com/works-on-paper-online-catalogue

Artworks all on Paper: Somerset⁠ Satin White 300gsm. To find out more about the Somerset range, visit our website.

Artist Interview: Rebecca Jewell

 

This month, artist Rebecca Jewell is giving a class with Sandy Ross Sykes at Gallery Green and Stone, in London, called ‘Drawing and Painting Nature Specimens: Butterflies and Beetles'.

After studying at the Royal College of Art, Rebecca and Sandy formed Drawn from Nature to continue the important work of teaching observational drawing of natural history.

We spoke to Rebecca about her work, inspiration, and interest in the Climate Crisis and environmental issues.

Ferns by Rebecca Jewell on Somerset paper,
selected for the Royal Academy
 Summer Exhibition 2024

Tell us about your practice and your journey to get to where you are now.

I am a practicing printmaker and fine artist. I did my PhD at the Royal College of Art in the department of Natural History Illustration. My work is based around the study of nature and material culture – making prints and drawings of specimens and artefacts in museum collections. After graduating from the RCA in 2004, I was artist in residence at the British Museum for several years, working with the collections from Oceania. I also had a printmaking fellowship at Sir John Cass School of Art, where I devised a process for printing images directly onto feathers. These I collage into ‘objects’ and ‘artefacts.’ I have exhibited with many galleries both in the UK and around the world and my work is in several national collections, including the British Museum, the Natural History Museum and the Royal Maritime Museum.

Cornish Flowers by Rebecca Jewell 
on Bockingford

Tell us about ‘Drawn from Nature’ with Sandy Ross Sykes

We met at the Royal College of Art where we were both studying in the same department, Natural History Illustration and Ecological Studies.  This course had been founded by John Norris Wood in 1971 and he taught there for over thirty years. We were two of John’s last students before he retired and the course was closed, he died in 2015. Realising that there were very limited places to study Natural History Illustration in the UK, we founded Drawn from Nature as a legacy to John but also to continue the important work of teaching observational drawing of natural history.

Earlier in your career, you spent time in Papua New Guinea - how did this experience influence your work?

When I was eighteen, I went to live in Papua New Guinea with an anthropologist and his wife and four children. I helped Wojtek with his fieldwork, and I spent time with Kathy, an artist, and I learnt from her how to paint with ink and wash and watercolour. I spent nearly a year with the family, it was hugely influential on the rest of my life – living in the cloud-covered rainforests, seeing birds of paradise and wild cassowaries, and witnessing and taking part in Moka ceremonies where the people dress in beautiful feather headdresses, decorate their bodies and dance and exchange pigs and gifts. After leaving PNG I studied social anthropology at Cambridge and continued my interest in Pacific cultures through my work at the British Museum.

Fox Monoprint by Rebecca Jewell
on Somerset paper

Given your interests in biodiversity and conservation, do you aim to raise awareness or convey specific messages through your work? If so, how?

I believe that art is a powerful medium for getting messages across about the Climate Crisis and environmental issues. I spent time in Malta, monitoring the illegal hunting of migrating birds, and out of that experience I made a series of works using mist nets sewn with printed feathers, representing the cruel practice of trapping birds in these invisible nets. Recently I had a residency with Cambridge Conservation Initiative, looking at seaweed biodiversity and making nature prints of pressed seaweeds from the Cornish coast, where the habitats of seaweeds are changing due to the warming of the sea, and some species are in decline.

Sea Eagle by Rebecca Jewell 
on Somerset paper

Unique to ‘Drawn from Nature’ is an exceptional collection of natural history specimens – what sort of specimens have you collected and where have they come from? What is your favourite specimen?

Both my parents were zoologists, so the foundation of my collection came from them – my father brought exotic feathers, lion and warthog skulls back from his fieldwork in Africa, and rhinos’ teeth and porcupine quills. Over the years I have added to this, from feathers and butterfly specimens given to me by zookeepers, to fossils, shells and minerals that I’ve collected on my travels. I’ve also bought vintage hat feathers from antique fairs, and I have a collection of beautiful eggs which belonged to my great aunt.  

Perhaps my most prized item is the skin of a King Bird of Paradise, which belonged to my father, and I discovered it in a drawer after he died. It has two glorious tail feathers with iridescent spiral discs at the tips.

Penzance Vase by Rebecca Jewell 
on Bockingford

What is the importance of drawing to you? 

Drawing is at the core of my practice. As the artist and philosopher John Ruskin said, to learn to draw is to learn to see. I really believe that by looking and drawing something it helps you to understand it, to fix it in your mind and to appreciate the structure or design of an object. The slow concentrated process of eye to hand drawing, can’t be replaced by the click of a camera. 

What is your go-to paper to use and why? 

When I am printing, I like to use a smooth heavy paper, especially St Cuthberts Mill Somerset Satin in soft white - the heavier 300gsm weight. When I am painting in watercolour and ink, I like to use St Cuthberts Mill Bockingford, also 300gsm -  this is affordable and has lovely results.

Cornish Wild Flowers by
Rebecca Jewell on Bockingford paper

During Works on Paper, you taught a class at Green & Stone called ‘Drawing and Painting Nature Specimens’ – can you tell us about it?

In our classes we share decades of knowledge that has been passed down to us as artists over the years. We structure our classes to pass on many tips and hints we have learnt ourselves. We also like to talk to our participants about the materials they are using…how their paper is made from cotton, and the history behind the coloured watercolours they are using. The specimens being painted are also full of fascinating stories. We have always had enthusiastic feedback and many of our students are loyal followers. We have found that our methods give the complete beginner confidence, and the established artist fresh inspiration. As the last graduates of The Royal College of Art’s ‘Natural History’ painting course, we feel passionate about sharing the skills needed for this work in order for it not to be lost.

UPCOMING WORKSHOP BY DRAWN FROM NATURE

Drawing and Painting Nature Specimens: Butterflies and Beetles at Gallery Green and Stone, London.

For more details, visit:

https://www.thegalleryatgreenandstone.com/events/rebecca-jewell-sandy-sykes-nature-specimens

To view more of Rebecca Jewell’s work, visit:

https://www.rebeccajewell.com/ 

Links for Drawn from Nature 

https://www.drawnfromnature.co.uk/ 

https://www.instagram.com/drawnfromnature 

To learn more about the Somerset range visit our website.

 

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.

Artist Interview: Sandy Ross Sykes

 

Earlier this year, Artist Sandy Ross Sykes gave a class with Rebecca Jewell at Green & Stone ‘Works on Paper’ called 'Drawing and Painting Nature Specimens’. 

After studying Natural History Illustration and Ecological Studies at the Royal College of Art, Sandy and Rebecca formed Drawn from Nature to continue the important work of teaching observational drawing of natural history.

We spoke to Sandy about her work, inspiration, and interest in biodiversity and conservation.

Tell us about your practice and your journey to get to where you are now.

Art School started early for me at 17. Initially after a foundation year I took my first degree in Fine Art sculpture. After some years living in SE Asia, I returned to the UK and studied Botanical Illustration which led me down the path to The Royal College of Art and conservation. I started to feel as an artist that making ‘Art’ wasn’t enough. That one had to use it for a higher purpose, for the future. In botanical illustration my eyes had been opened to the work of the Bauer brothers, Maria Sibylla Merian and Margaret Mee among many others that we are still learning from today through their work. Serendipity landed me once more in Asia at a time when as now, vast areas of rainforest are disappearing along with its native flora and fauna. I set to work recording with paint and paper as much as I could over 10 years before returning to London and jointly creating with Rebecca Jewell Drawn from Nature so all may learn the skills needed to record species wherever they are, whether in a high rise flat or a country lane.

Tell us about ‘Drawn from Nature’ with Rebecca Jewell

We met at the Royal College of Art where we were both studying in the same department, Natural History Illustration and Ecological Studies.  This course had been founded by John Norris Wood in 1971 and he taught there for over thirty years. We were two of John’s last students before he retired and the course was closed, he died in 2015. Realising that there were very limited places to study Natural History Illustration in the UK, we founded Drawn from Nature as a legacy to John but also to continue the important work of teaching observational drawing of natural history.

By Sandy Ross Sykes on Saunders Waterford

Earlier in your career, you spent time in some extraordinary places - you spent years exploring remote forests in Southeast Asia - how have these experiences influenced your work?

Witnessing at first hand the rapidity of species loss in SE Asia makes me aware of how fragile our natural habitats are and how quickly they are lost forever and how important it is to record the times in which one lives as an artist. I am also greatly inspired by the C18th naturalist Gilbert White.

Given your interests in biodiversity and conservation, do you aim to raise awareness or convey specific messages through your work? If so, how?

An awareness of our surroundings is so important. These last 2 years I have been painting species on the UK red list of endangered species. We hear so much about the degradation of faraway rainforests and don’t see what we are losing from our own habitats. Art materials are an important factor in this work.

Good quality light fast watercolour paints which won’t fade, and archival paper such as that made by St Cuthberts Mill that will last centuries, are crucial to this work. Exhibiting paintings and also sharing the methods used to record species through our art classes are of great importance to the ethos of Drawn from Nature.

Unique to ‘Drawn from Nature’ is an exceptional collection of natural history specimens – what sort of specimens have you collected and where have they come from? What is your favourite specimen?

When I have painted a species often in difficult and remote places from a plant in situ, I then use herbarium techniques to dry and store the pressed plant in order that it can be compared to the painting by a botanist as many of the species I have painted are unknown to us here in the UK.

Over the years I have been able to collect many other items. The most shocking for me was a key ring bought in a market in southern China for less than £1 as a tiger’s claw. Surely it was a plastic replica I thought. But sickeningly it is real, and a lesson in how we need to do more to protect habitats and species.

What is the importance of drawing to you?

Drawing is the building block of art, but, it requires practice, if all you can manage is a 2 minute doodle a day do it!

What is your go-to drawing paper to use and why? 

St Cuthberts Mill Saunders Waterford Hot Pressed 300gsm (140lb) traditional white. My work needs a smooth surface, so hot-pressed paper is best. I am a fan of Saunders Waterford in the traditional white as it may also be bought as single sheets and I use the large size for some of my big paintings. Good art materials are so important and so much skill goes into their manufacture. I hope to visit St Cuthberts Mill to learn more about the processes involved in making their papers. 

During Works on Paper, you taught a class at Green & Stone called ‘Drawing and Painting Nature Specimens’ – can you tell us about it?

In our classes we share decades of knowledge that has been passed down to us as artists over the years. We structure our classes to pass on many tips and hints we have learnt ourselves. We also like to talk to our participants about the materials they are using…how their paper is made from cotton, and the history behind the coloured watercolours they are using. The specimens being painted are also full of fascinating stories. We have always had enthusiastic feedback and many of our students are loyal followers. We have found that our methods give the complete beginner confidence, and the established artist fresh inspiration. As the last graduates of The Royal College of Art’s ‘Natural History’ painting course, we feel passionate about sharing the skills needed for this work in order for it not to be lost.

UPCOMING WORKSHOP BY DRAWN FROM NATURE

Drawing and Painting Nature Specimens: Butterflies and Beetles at Gallery Green and Stone, London.

For more details, visit:
https://www.thegalleryatgreenandstone.com/events/rebecca-jewell-sandy-sykes-nature-specimens

To view more of Sandy Ross Syke’s work, visit:

https://sandyrosssykes.com/

Links for Drawn from Nature 

https://www.drawnfromnature.co.uk/ 

https://www.instagram.com/drawnfromnature 

To learn more about the Saunders Waterford range visit our website.

Article originated by The Gallery at Green & Stone, as part of their 'Works on Paper' exhibition. Our thanks to them for allowing us to replicate the piece.