The medium of pencil by Brian Gallagher, Part 2

Plant pots. Pastel 18” x 13”

Brian Gallagher explores the detailed subject matter to be found in any landscape, not only as a particularized study, but as a means of understanding the countryside from which one may wish to paint or draw.

Whenever I begin a new piece of work, visit an art gallery, or find myself in the company of other artists; always there is a feeling of excitement and I am fully alive. I believe this elated feeling is a necessary state of mind, certainly when contemplating a new piece of work.

Elements of the countryside

It is this awareness that is a most valued asset whenever I am in the countryside. There is such a multitude of subject matter that delights the eye, and I have found from experience the need to carry with me a small pocket notebook to record a description of the many differing subjects as I come upon them. These may include A Cotswold dry stone wall overgrown with ivy, The weathered lichen covered timbers of an old gate secured by a rusted chain, The gnarled features of a hawthorn shaped by the prevailing winds, or an old elm uprooted by last winter’s gales. So I build an ever growing store of ideas for future work that I will develop from my jottings.

You may have noticed that each of the titles are features of an overall landscape. It is the details of a landscape that fascinate me, and into which I will sometimes introduce animal or bird life.

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Drawing a dry stone wall

Rather than draw the stone wall commencing in the foreground, running through the middle distance, to merge with a distant hedgerow on the horizon and vanishing point of the composition, I take the section of the wall and surrounding undergrowth I find most interesting and make a detailed pencil drawing.

Seeking to capture the structure and character of the stonework, I note the growth of vegetation over the base of the wall, the old grasses matted and withered. Here around the dead grasses are the darkest areas of the drawing with the new growth pushing towards the sunlight.

Working upwards from the base of the wall, I suggest the blades of couch-grass in outline, now the stems of a nettle; I note the position, shape and size of the nettle leaves to the other undergrowth and place the leaves in outline in the composition.

At this stage, having shown the relative positions of the undergrowth to the wall, I then work in detail on this area.

Using an HB pencil, sharpened to a point, I begin with the base of the wall that is visible and draw the individual stones, concentrating on reproducing a surface texture that is acceptable to me as Cotswold stone, working the grain of the paper I am using to achieve this effect; noting, of course, the distinctive shape of each stone and how it is laid.

Now I lay in the tracery of dead grasses against and over the stonework, visually unravelling the anatomy of the grasses by showing the blades closest to me lighter in tone than those farther away. By this process I graduate from the dark deep areas of the wall base to the light of the plant life in the foreground.

Applying this method to the varying growth in this small area of the drawing, and continually relating the anatomy of the differing plants, I find myself deeply involved with drawing form: the form of leaf and stem and grass, trying to get behind the plant, to give the image that I see substance in the drawing.

Phragmites. Pencil 15” x 8”; (In the possession of Mr & Mrs H Joly)

How subtle are the variants of nature, how difficult to truly portray, but how stimulating the experience of attempting to do so, and all the time one is learning. I find this almost analytical approach to be the most beneficial for me.

I cannot stress too highly the value of this method of working, for I know of no other way I will come to understand the landscape.

Tone

The drawing has now moved to the stage where I am concerned with tone, which by definition means harmony or general effect of colour, the rendering of colour relations, mood and shade. It is the tonal value of a painting or drawing that captures and conveys the mood, creates the atmosphere, an intrinsic factor that gives weight and balance to the whole.

With these thoughts foremost in my mind I work on the detail, registering the varying shades of colour before me in gradations of tone, and in so doing seek to create depth. My dictate, of course, being the light, in this case sunlight, which in fact determines the tone of the drawing. This pursuit of creating light in the work is a fascinating exercise, for there is the touch that can bring a drawing or painting to life.

A thought that springs to my mind at this point. I never cease to be moved by the play of the intricate shadows of branches cast on the trunk of a mature oak, elm or beech tree; what a superb subject for a pencil drawing; but remember to try a section of the trunk for the study.

To return to the drawing, I have worked through the small area of detail, having brought it to the stage where I can see how the whole work should develop. If I am satisfied, then I will work through the composition in this manner; I suppose rather like piecing together a jigsaw.

While the thought is fresh in my mind I would like to say how important it is to note how plants grow from the earth, the angle at which they emerge from the soil, the way they present themselves to the eye. To try to understand this I will draw, say, a tussock of grass, hoping to convey growth.

May I suggest, the next fine day when you have time, that you take a comfortable chair into the garden and draw the nettle, dandelion, or groundsel, noting the points I have mentioned before you deposit them on the compost heap! Better still, leave a corner of your garden to “return to its natural state”. This I am sure will pay dividends as far as your art work is concerned, and possibly encourage bird and insect life to flourish.

Beyond the tussocks. Pencil 10” x 14”; (in the possession of Miss Barbara Ayres)

I find the medium of pencil ideally suited for working on the detail of a landscape, for it allows me to record meticulously the subject that is often within inches or feet of me.

As well as gaining knowledge of my subject, I am getting to know my pencil, exploring the full potential of this most beautiful medium in the process of seeking to convey the form, variation of colour, light and shade, of leaf and stem.

As an exercise I will sometimes use only an HB pencil to encourage me to develop my control and discipline over the medium. May I encourage you to try this yourselves on that “next fine day” I mentioned earlier. It is a most rewarding exercise, but the greatest reward unquestionably is that one is working from nature and for that there is no substitute.

Paper and pencils

Normally I use HB to 3B degrees of lead drawing pencil, with a paper varying from 90lbs. to 200lbs.

Generally speaking the heavier weight of paper is not suitable for detailed pencil work; although I have used a Saunders paper of 200lbs. weight quite successfully. I make no excuse for repeating myself – the beauty of pencil work is in the mark that is made; if the pencil is not sharp then the mark cannot be made, so always keep the pencil well sharpened.

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I know that as a direct result of working as I have described, I have gained a far greater knowledge and understanding of the countryside I seek to depict, and a deeper appreciation of the art of landscape painting.

May I suggest to those readers who wish to consider landscape work, and who find the visual impact exhilarating but somewhat daunting, that they consider approaching the work as I have described. Take a detail of the visual panorama before you; then decide what your subject matter will be and with your pencil try to work in as detailed a manner as you are able.

You will find that with patience and application you will gain in your endeavours by this close observation. Look, and look again, in the first instance. It is only by learning as much as possible about your subject that you can, with this knowledge, know what you can leave out and still convey your intention.

Drawing foliage

Plant pots. Pastel 18” x 13”

My prime consideration when I am drawing foliage is that the pencil follows the line of growth.

When drawing leaves I work from the central vein to the leaf contour, shading the surface of the leaf and using the tooth of the paper to suggest texture.

Dealing with stems I work upwards, thinking and drawing form, while noting individual characteristics, again using the tooth of the paper to show texture. Then I develop the tones of the leaf and stem.

The area farthest from the light will show in deep shadow, the shadows cast nearer to the light are shown with less intensity.

May I leave you with this exercise: take a single stem and five leaves of a blackberry bramble – they normally grow in fives – and be careful not to prick your fingers. Now draw the stem and leaves as I have described, noting the strength at the central vein of the leaves. Where leaves overlap each other, show a shadow on the lower leaf surface that will follow the profile of the top leaf.

You will notice the shadow is strongest immediately beneath the profile then lessens in strength as it follows the surface of the lower leaf.

If you have used an “HB” for the surface of the leaf, try a “B” for the shadow. I am sure you will find yourself totally absorbed in discovering this world of hedgerow and undergrowth.

READ BRIAN'S ARTICLE ON DRAWING WILDLIFE