Laurelines

January/February, on paper and in color

I've had a good beginning of the year so far, a combination of studio time (feeling my way with matte acrylic paint, which I love) and drawing and sketching, some examples of which follow! 

Another early morning warm up in my studio: I loved making this tea light sketch with acrylics and brush pen on toned Stillman & Birn paper:

Stillman & Birn journal again, this time a collaged spread, with deep red accents on that matte gray paper:

Finding energy and joy in small things, such as this arrangement at my dear friends Jeffery and Stanley's house. Their place is full of artfully and heartfully arranged objects from their charmed lives. I will go back often  to draw there:

Here's a shift in mood! Just returned from a whirlwind trip to New York to see the David Hockney show at the Met, and made some sketches while there. I was delighted by several marble portrait busts of men with cascades of curls (wigs, of course) and wish I'd had days to sketch more of them! Drawn on site, red and blue gouache added later.

Breakfast was a sketchable affair, I felt, with those gestural pearly white globes, Vermont farm poached eggs, and other fun colors and shapes:

Last trip sketch, my patient, calm husband at JFK, waiting for our flight back home, reads on his Kindle:

Finally, my illustration for the Winter 2018 issue of Charleston Style & Design Magazine, accompanying a lovely essay by Patrice Gopo, writing of her travel and fulfillment dreams for her young daughter. This will be my last CS & D illustration until summer when I look forward to getting back on board with that lovely magazine. For the next months travel and other work will be on my front burners.

In Print and at the Nasher: My Colorful World

We left North Wales a week ago today and I am still under the spell of that gorgeous, compelling landscape. Before I post the drawings and sketches I made there, I have a few other things to share. 

In September, I had the great pleasure and honor to be asked to provide illustrations for the menu card of an event celebrating Chef Bill Smith of Crooks' Corner Café. In addition to his wildly successful career as a chef, Bill Smith is universally loved and admired for his kind nature and for a lifetime of good deeds.  I thought at first the assignment was to provide food illustrations, so it seemed an easy one to accept and I did. Quickly, I learned that the job required a portrait of the chef himself!  Not only is he famous, so if I got him wrong, it would be glaringly apparent to lots of people, but Bill's a friend of mine, too. No pressure there ;D.

After dozens of drafts, I got him! I did!  And I used my Magic Pencil, which gave me color subtly, but unmistakeably. It was just right. For the card's border, I painted loose watercolor versions of honeysuckle blossoms and leaves, in honor of honeysuckle sorbet, one of our chef's signature dishes. This made a garland that would frame the portrait without overwhelming it.   

Here's the original illustration:

And here's the final product:

 

A few days ago, an essay I wrote and illustrated on the topic of my garden was published in the Fall 2017 issue of Charleston Style & Design Magazine. I chose a simplified ink and watercolor wash method for this assignment, to match the lighthearted tone of the essay itself. Here are some of the originals:

This is the main illustration of my garden, showing my boxwood topiaries and their allium companions:

And here is one of the garden vignettes. The shapes and sizes and layout of the page where these appear imposed lots of challenges for me! You can see them all and also read my essay by clicking on this link!

Finally, in preparation for a 3-session drawing series I'm teaching at Duke University's Nasher Museum in November, here are a couple of prep sketches I made showing the loosely structured, gestural approach I use.  We will focus on and engage with the important Carlo Dolci exhibit now on view at the Nasher. We will draw from live models for half of each two-hour session and spend our other hour in the galleries, drawing from the figures in the Dolci paintings. My approach will be non-dogmatic, non-academic, lively, fun, and, I think, very rewarding!  Come join us if you can!! Here's a link with all the info you need to sign up.

Please come back next week and see what happened in North Wales! See you soon!

In a liminal state

Here it is, the end of one of my favorite months, the eve of another.

I am standing on a threshold, with loose ends to tie up before I leave for Wales and some miscellany to share.

Having finished my summer workload, I turned back to Alaska-inspired paintings. I felt as though I had, literally and figuratively, painted myself into a corner with the Copper Mountain series and their restrictive color palette. These are self-imposed restrictions, needless to say, and so are readily set aside for a while.

As a way to sneak up on and vanquish my stymied and procrastinating self, I turned away from orange and verdigris and thought about the cool blues and greens and earth tones that characterized 99.99% of the Alaska I experienced while I was there!

More studies. The trick is to keep the energy and verve of studies in my final paintings... that has been the hitch with the Copper Mountain series so far. Nevertheless, I persist.

Study of Lake Clark, Alaska and its turquoise waters and dramatic sky:

 

Standing here today, I believe I see some thoughts of Wales sneaking into this study! Liminal states are like that, with their rearview glances to the past and their earnest wonderings about the future.

I mentioned last time my brush pen technique as a solution for the garden illustrations I had to do and that worked well. I actually simplified shapes and tones and ended up with not a lot of nuance, but some fresh and light-spirited images which went well with the tone of the essay.

I can't share the final illustrations until they are published this fall, but here is a collage I made of leftovers from the process, all pasted into my journal/sketchbook. Color and light and simple shapes dominate here.

 

Having lately rediscovered my beloved brush pen for pleasure drawing I vow to make more drawings with it. Here is one of my daughter Kate from a few days ago. Pentel pocket brush pen and Caran d'Ache watersoluble crayons:

So now, again, back to the painting studio and to thoughts and plans for my upcoming trip to north Wales. See you soon!

Brush pen memories

Help! I'm working on illustrations to go along with the essay on my garden that I wrote for Charleston Style & Design's upcoming fall issue. Deadline: NOW or a time very much like it.

I have made dozens and zillions of drafts for these, mainly because I can't settle on the technique I want to use. My collage approach doesn't fit with this subject and the format of these images. My studio floor, the repository for rejected drafts, is a mess, 

What to do??!! Last night, I thought, "brush pen, why not?" I love working with my Pentel pocket brush pen. It feels almost like an extension of my drawing hand. I've used it for lots of sketch subjects and some illustrations over the years. I looked back at my Flickr account to remind myself of the ways I had done this and was waylaid by memories.

May I share some of these rediscovered images and memories with you?

Below: In Pasadena,a cactus garden, part of the larger Huntington Gardens, that I visited with my friend and brilliant artist Virginia Hein on a sketching jaunt fall before last. This brings back such wonderful memories of our time together.

I had hesitated to try brush pen with my current assignment because I wasn't sure I could get the nuances I want with it. But this sketch managed nuance!

Next a scene from Oakland Bay from 2015. I was visiting my daughter Cecelia. Looking at this, I am instantly back in that day, in that place. And I miss my daughter so much. Some nuance here, too!

In another vein, a portrait sketch of Sir Walter Raleigh for the cover of Walter Magazine in 2013. I submitted several images. They chose another one for the cover, but I have always loved this Sir Walter's sassy and flourishy attitude.

Jumping again to a quite different topic, here's a pretty atmospheric, nuancy sketch of a scene in Iceland. Drawing in the twilight, especially the Northern twilight.. aahhh. Heaven. 

The sketch below is another one-way express ticket to the past. David and I were traveling in the Dordogne with our friends Moreton and Drake. Moreton drew me as I drew this scene on the river near Bouziès. I spy nuance! Fabulous memories here, too!:

Finally, speaking of being overtaken by memories, I saw this pen and ink and crayon drawing of our Miles three or so years ago and, though it's not a brush pen drawing, it IS a drawing of a beloved baby, so that counts for a lot, doesn't it? Memories.

Back to work now, keeping my fingers crossed that my brush pen and I will get this done!

Midsummer update: painting, drawing, following a trail

Here you go: some miscellaneous news and images from midsummer. First: several paintings still in process (albeit a very long and frequently interrupted one.)  Well, it takes what it takes and I am who I am, so there, as I often think, we are. (Update from yesterday's studio time: moving forward! I'm learning more what the paintings want to be!)

Other news:  a writing and illustration assignment for Charleston Style & Design Magazine, due August. I'm to do a double-page spread on the subject of my garden in words and watercolor sketches. I'm in the midst of this and, whew, it is not at all as sticky a process as the painting one. 

Recent photos of my garden so you can see some of the context for this:

I will be teaching another three-part drawing series at the Nasher Museum of Art this fall, but I've asked for November dates, since I'll be in Wales again in September!! This series will focus on the figure and I am to tie it to the important Carlo Dolci exhibit, opening late August and running through December. I'm very, very excited about this series! We will have live models and we may hold the sessions out in the open space next to the galleries! What a lively and outreaching museum is the Nasher! 

And then comes Wales! We will be going to north Wales this time, to Anglesey and the Lleyn Peninsula, following the Caledonian Orogeny trail! Oh, and on the subject of that unfathomably ancient mountain range, I have more plans and ideas! Odd, perhaps, to have a 450 million year old mountain range as a muse, but I do have it and so there, once again, we are. Once I get the summer obligations met, I will tell all about my plans and dreams for the Caledonian project over the next two years. God willing, it will be the project of a lifetime, with thrilling trips to bring it forth.

Finally, some miscellaneous sketches from my time in Pembrokeshire in May.

View of Carn Llidi, near St. Davids' Head, in blues and orange.

A slice of the disused slate quarry at Abereiddi.The colors of the stones and rust from the abandoned quarry are stunning:

Carn Llidi again, with rapeseed field, late afternoon into dusk:

View of Carn Llidi and jackdaws from the window of my apartment on the first day, a day of mist and rain:

Ink and watercolor drawing of green sandstone outcrops at Whitesands Bay:

Tidal leavings harvested at Whitesands Bay and later drawn as still life, with sand from the beach applied to the page:

My beloved Carn Llidi, drawn this time on a sunny day with brush pen and watercolor:

A little collage in my sketchbook of some of the wildflowers in bloom in the May hedgerows around St. David's. I fell in love with those hedgerows! This spare collage is more of a mnemonic device for me than anything. I will return to that subject later.

Though we will be in northern Wales this fall, as I said, I am not through with Pembrokeshire and St.David's yet! There is so much of great personal meaning for me in that area and we were, with our friends, so happy there!

 

 

See you soon on the Caledonian trail! 

 

 

2017, the plan(s) and hopes for a newish year

I'm late posting my new year plans because I've been waylaid by flu for a good first ten days of the year.

 Waylaid times can be useful for thinking and such was the case for me. I started keeping a daily journal again. My writing had become sporadic and sparse in the busy, extroverted year that 2016 was. There were also world events that eclipsed my inner life, at least the act of thinking and writing about it. 

World events loom huge today, but I separate from them by taking to the studio, to the outdoors, and to the balm of friendship. And on this page, here, with you.

Painting!

On the studio score, I'm very excited! All that pent-up painting energy, accumulated over the months of travel in the fall and winter, is coming out in leaps and pirouettes! My Places Project gave me so many opportunities to experiment and store up ideas and inspiration. In 2017, I'll be able to see what emerges from that in the form of more sustained pieces, paintings and such.

I was afraid that my trip to Wales might eclipse the ideas that occurred to me during my Alaskan residency, but no!! The Wales imagery and ideas seem to be patiently waiting in the queue for Alaska to happen first. I have several paintings started and a sketchbook bursting with color, texture, and compositional studies, but I resist the urge to share those here. Let us not queer the deal by showing too much, too soon. But the textures and the colors are giving me ecstasies of delight!

 

Drawing!

Oh, and I've been drawing, too. Drawing is central to my life. As I've said before, drawing is one of my earliest memories, and one of the happiest, of my often-challenging childhood. Here are two simple pencil drawings I made last week of our Jonas lost in Legoland!

Pop ups in my sketchbook!

I don't know exactly where the impulse came from, but I started making pop-up sketches in my sketchbook a few days ago and now I'm in love with that idea! Here are a couple of recent examples. The pop up approach seemed especially right for expressing that mental image I've had since October of jackdaws wheeling in the dawn sky at St.David's Head. Not that this one perfectly captures that image, but it's a start!

I wanted to learn more about this technique, so I bought two books on the subject and quickly learned I had been doing it all wrong! ;D. That didn't bother me a bit. I can carry on my way, but still add traditional techniques to my repertoire. Here are some early attempts at learning popups the normal way. Who knows where this will take me? I have no weighty plans or expectations. Pure play is what this is. But there WILL be more to come!

Illustration!

I'm going to carry on working for Charleston Style and Design. I love working with the AD and the editors there. It's a quarterly, so the timing perfectly suits my resolve to keep work for others at a minimum. There is ONE other job that I've been approached about and I'm very happy about it, but the when is uncertain. This year, for sure. Or, for maybe. I'll let you know more when I can.

My latest illustration accompanies an essay by Katherine Wilson on her mother's lifelong obsession with Italian style and notions of beauty. I am sharing a just a few of the many  draft sketches I made to show how, at my searching hand, Sophia Loren looked like Zsa Zsa Gabor, Gina Lollobrigida, and other anonymous retro beauties, until I got the style I wanted and a good enough likeness. 

Travel!

Because I found Wales deeply inspiring, I knew I had to get back and see where  those geology-based images would take me. So I have made arrangements to go back to Pembrokeshire for two weeks in May! And maybe in fall, too. We shall see. I long to go back to Norway and that will be my next big travel goal.

As long as I draw breath and can stride, I'll be on the move. Who knows what the future holds? And that last question, dear friends, will be last allusion I make here to the events of the world for a while.

Happy and safe 2017 to one and all! Thank you for your support and interest.

2016 turns to 2017

 And so do we all. This year has been a fraught one, to say the least. We have had way more than one year's share of loss, despair, and dread. I know that many of us around the world are looking to the new year for some, for any, relief. May we find it.

On a personal, artistic level, however, this year has been one of the fullest ever, with trips and work deriving from my Places Project. I began to experiment with painting and drawing with found, organic materials. I have a long way to go and, I assume, lots of time to continue with this. Mud, paint made from rocks and soil, sand, charred twigs, berry juice were some of my means along this path.

The red earth of North Carolina, gathered here from Peregrine Farm, is highly pigmented and is a total joy to smear and brush on surfaces. Soil from my area makes paint in this deep red and in various other ochre, umber, and sienna hues.

 Rows of celosia flowers at Peregrine Farm, supported by white plastic mesh made for a striking subject. Mixed media : mud, acrylic, watercolor, found charcoal on toned paper:

Other studies and sketches from Peregrine Farm can be seen here and here:

 In Alaska, at my residency at Chulitna Lodge on magnificent Lake Clark, there was peaty soil and sand to dip into. I brought back some soil I ground and dried for use in my studio this year. I overestimated what I could do pursuing these means in a limited period of time, restricted to materials I could pack in my carryon! I need to be somewhere for an extended period, with lots of space to work and to store materials. I am working on just such a scenario for myself for 2017.

View of Copper Mountain from across Lake Clark. Mixed media: watercolor, sand, soil.

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 There were wild currants to squash and smear to add color to drawings:

This and other spreads and studies from Alaska can be seen here and   :

 

 

In coastal Pembrokeshire, the world was rich with beautiful mud and rocks that told stories 450 million years old. I was in ecstasy there and have just made plans to return for two weeks in May to continue those explorations.

Above, I paint and draw with sand and rocks and below I smear in my sketchbook mud from the source of sacred St. Non's well near St. Davids, with blackberry stain added for color.

Other paintings and studies from the 12' long accordion sketchbook

I used in Wales appear here.

I enjoyed another year of working with Charleston Style and Design Magazine, producing illustrations that allowed me to stretch and play and that were such fun to do

 

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I led my second three-part drawing series at the Nasher Museum of Art in September and it was a lovely, successful experience, just as last year's was. It is a thrill to work with enthusiastic students from all ages and backgrounds. 

 

 

In print in October: garden and grits!

Hello from a golden world! While I was in ecstasy, walking and drawing, 

eating and drinking in marvelous Wales, two projects I'd been part of appeared in print!

First was my illustration to accompany an essay on grits by Margaret Locklair in the Fall 2016 issue of Charleston Style and Design. This was a playful piece and I hope my illustration expresses that sense of play.

 

This is the third piece by Margaret Locklair I've illustrated for CS&D.  

Each one has been a joy.

Here's the essay from the digital copy of the magazine:

 

My second print appearance this month was a photo essay in Walter Magazine; Raleigh's Life and Soul, on my garden, with more photos and the accompanying text written by yours truly.

Here's my essay:

My garden

By Laura Frankstone

If my garden could talk, you would hear mostly French, with traces of North and South Carolina-inflected English.

I lived in France for three years as a young child; the shapes and patterns of that country’s elegant formal gardens became imprinted in my heart. This was, as far as I could tell, the way things grew.

In my grandmother’s garden in Charlotte, luscious gardenias and glowing panicles of snowball bushes thrilled me to my core. Her verdant oval of lawn studded by white iron glider benches and chairs was my one constant in a childhood of frequent moves, the dislocations of a military family’s life.

My mother-in-law’s Charleston courtyard garden was proof that formal design could live happily in an intimate setting. There grew a deft mix of herbs, flowers, and ferns, with graceful seating for conversation.

My garden’s French accent has grown stronger over the years, with many visits to France. A pilgrimage I made to le Jardin Agapanthe in Normandy, the gardens of brilliant garden designer Alexandre Thomas, was especially transformative, showing me you can use traditional French garden motifs in free and fresh ways.

My garden tells many stories, those of an artist-gardener who plants for texture, color, and shape, more than from horticultural considerations. It tells stories of my daughter’s wedding, rehearsal parties, receptions, countless dinners, and birthday celebrations of children and grandchildren. It tells the story of 3 a.m. meteor showers, seen from two outdoor lounge chairs given to me expressly for the purpose of stargazing.

What those other gardens told me, and what my garden says, is that in order and beauty, there is comfort. Life provides enough pyrotechnics. Let our gardens give us peace, space for reverie, and delight.

 

I am now in re-entry mode from the Wales trip (and the Alaska trip, if I'm to be honest!) and will continue to process those experiences physically, through my work, and emotionally, too.

 

I will post sketches from Wales in the next days.

 

 

 

 

 

 

 

 

July: images and experiments

All images after the first one derive from Peregrine Farm, first of the places for my Places Project, which I began a few months ago. Alaska in August and Wales in October are next on my agenda.

But first: For the Summer 2016 issue of Charleston Style & Design Magazine, I was to illustrate an essay by Judy Kurtz Goldman on mothers and daughters and their gardens, in particular, the story of the garden of the author's late mother. Her mother had had an unusual way of waving the garden hose in arcs above her head as she watered her flowers and this is something the daughter does, too. "I wish [my mother] could stand beside me on a hot July afternoon and feel the spray from my garden hose.  I'd thank her for this wonderful things she's passed down to me, as we both squint at the arc of water crossing itself over and over."

 Continuing with my plan to use materials from the places I immerse myself in, in combination with the elements earth, air, fire, and water... in one guise or another... I made another cyanotype with love-in-a-mist from Betsy's flower fields. The image, an arrangement of flowers and cut paper placed on photo-sensitive paper, is developed in sunlight.

Later in the month, I sat and drew in the celosia fields. Here I fell for the brash and blazing reds of the blossoms as well as for the accidental beauty of the white mesh fabric used to support the tall stems as they grew. This was found sculpture! On Strathmore toned paper, I used paint made from soil I gathered from the farm as well as crayons and pencil.

The days I visited the farm to draw celosia flowers were very hot. I tried to convey the sense of red hot air in this drawing, made on site using a multi-leaded colored pencil, with red acrylic paint added later in the studio.

Drawing with charcoal made from charred blueberry branches found on the farm, I sketched a plowed and open field edged by a road leading to the Alex and Betsy's house. The reddish paint was made with field soil and the ochre paint was made with soil I collected near the farm's creek beds.

 Here's another drawing of celosia flowers growing through a grid of white plastic mesh. Drawn with watercolor crayons, painted with paint made from field soil and a final layer of acrylic paint.

Not all of my experiments were successful, but isn't that what experiments are for, to try stuff and see?

Here's a case in point,  a collage I made of purple and red lettuces growing in a field. I had been attracted to the wavy, concentric shapes of the lettuce heads, and to their jewel-like colors.  For these, I drew from my studio stash of leftover painted paper, cutting the paper into lettuce-inspired shapes.  As in the images above, the field's earth is painted with earth from the field itself!  That is what I love about this project... playing with found, organic materials in combination with more conventional media, to try to render the energy and essential nature of these places that are meaningful to me.

I leave for my art residency in Alaska in a few days! Trying to work out which art supplies to take is my challenge. I will report back on what I chose soon! Happy August!

February in the studio: collecting, dreaming

I've been collecting images this month, fossil images relating to the places I've been to and hope to go to. This is an offshoot of my desire to make artwork with and of the numinous places of my life. I plan to paint and draw with found organic materials, as I've mentioned before. I won't be using fossils themselves, I hasten to say, but will incorporate that imagery somehow into my work, if and however it works out.

I've also been generating lots of images for illustration projects, one of which I finished, but can't share until it is published in April. But I CAN and do keep the leftover bits and pieces and recycle them in the pages of my  journal.

First, though, the drawing below. It's throwback to an old, old theme of mine from my early years of blogging, in which I collected interesting objects found on my walks, brought them home and drew and painted them. As usual, it was the textures and gestures of the objects that captured me.

I have birds! My most recent illustration assignment for Charleston Style & Design centered around singing birds in a cherry tree. I put my cd, A Field Guide to Eastern Bird Songs, on the laptop and played it as I drew. Perfect inspiration!

Here are some of the aforementioned illustration leftovers, pasted on a page in my journal:

Below, more leftovers, from two different projects, appearing together in the pages of my journal.  A happy pairing, I thought:

Below, a spread of the fossil studies I mentioned earlier:

There is something very compelling to me about connecting in my artwork, in any way I can, to the deep energy of the world we stand on. It's that old sweet song... channeling the ch'i.

In a few days, I'll be back in the San Francisco to see my daughter and my dearest friend Kathleen. I'll be sketching there, you can count on it. 

I'll tell you then about the place I've recently added to my plans this year, a country connected to Norway by virtue of the events of the Caledonian Orogeny. What's four million years' separation between friends? I'm beside myself with glee, thinking of the new place!

See you soon!