A tale of two sketchbooks

Artists have always had notebooks, drawing books, sketch books, call them what you will, the place where ideas, impressions and notations are set down. The links below take you to records of my own favourites:

Georges Suerat         Richard Diebenkorn

Many artists value them more highly than the actual finished pieces of work, they form a chronological document of a creative life, record a working process, a document full with potential, waiting to be developed.

I can relate to much of that, I have a collection of hard back books of various sizes that go back to my teenage years. To call them a diary would be wrong and create a different sort of impression, however they are records on my creative life and when I open them up I see notations that carry me back to where I was in by creative activities, but often a whole lot more beside. A particular page may conjure up recollections of people I was with at the time, where the drawing was made and maybe particular circumstances that led me to take a particular approach.

However, during the last eight years or so there has been a development in my sketchbook use. I now have two quite distinctive sets of books. The first is a book of plans, doodles, experiments and thoughts that relate to my main studio practice. They contain notations and instructions to myself that will help carry me towards the type of work that is documented in the ‘My own paintings’ link at the top of the page.

Within these pages I am puzzling out ideas and arrangements, recording plans and trying to find my way in this section of my creative output. This is undoubtedly the most important part of my work as an artist. The pages of these books rarely have a very aesthetic appearance, that’s not the point, they are about recording, experimenting and hopefully avoiding dead ends and the pursuing bad ideas when studio time is precious.

Alongside this I have a second set of books. These are mostly a little smaller, A6 or A5 format. I call them my ‘recreational’ books. For that is what they are. The very first one in this series was made in 2009 during a month-long family trip to Orkney in northern Scotland. I decided it would be interesting to somehow record this family expedition. It felt like a big adventure, my wife and me travelling with our children aged 9 and 11 at the time, on trains, boats and buses, with two small tents in rucksacks on our backs.

The resulting A6 sketchbook became filled with forty or fifty drawings and watercolours of the expansive skies and glistening horizons that we encountered. Since this trip I have continued the practice, whenever we travel the latest book comes with me, also if it is just a day trip. I enjoy the process, and over the years I do seem to have got better at rapidly capturing, mostly the landscapes, that we pass through.

So, I have two seemingly quite distinct set of documents in these compact books on my shelves. I have often found myself wondering about other artists who might have similar split creative outlets. One that springs to mind is perhaps Ellsworth Kelly. On the surface, his elegant and deceptively simple line drawings of plants seem to have little connection with the large scale geometric abstractions. But look a little more carefully and the connections are there, lines and edges, intersections and an economy of information.

Orange Relief with Green 1991 Ellsworth Kelly 1923-2015 Presented by the American Fund for the Tate Gallery 1998 http://www.tate.org.uk/art/work/T07478

Like with Kelly’s work, I am starting to feel increasingly that these two streams of creativity do in some ways show tendencies to converge. Geometry in the landscape has always fascinated me. Where is this geometry ever stronger than in the hard edge of the horizon of the sea on a clear day….a scene that I have often enough recorded in the travel notebooks. And more recently trees as a motif are finding their way repeated into the studio work and I would certainly be inaccurate to say that my experiences of drawing trees in the landscape in my ‘recreational’ books hasn’t in some way been feeding through into what I consider to be the ‘real’ work.