Ian Griffiths (Griff)
Wildlife Artist

Sketching is the basis for my painting and I sketch very loosely trying to capture this feeling or as it is known the ‘jizz' of the bird. But before I even get out my painting equipment I spend as much time just watching and observing my subject as possible and this is where the years of wildlife observations come to play. Once I have a few pencil or pen strokes down I will concentrate on the light and shade on and around the subject. If time allows I will add more detail, e.g. the bill or a head stripe depending on the relevance. But behavior is more important to me than detail and the least important is colour. I keep a small sketching kit in the car, one in my rucksack and a larger kit for days out. I also use a camera as part of my sketching process or if time does not allow, I have two small children one with additional needs and I have not found away to sketch with one hand but I am deft at taking photos this way.

I do not rely on photographs being my only reference and basically use them as an aid-memoir, they cannot see like the eye can and I do not rely on them for colour, light, etc The camera only takes a snapshot, our eyes see continuous movement and change, a sketch builds on several images not just one. I use binoculars and a telescope to get closer and to enable me to observe without disturbing the subject, a sudden noise or movement will scare off these subjects. I do not finish them in the studio but may refine them in the field.

I have sketched my travels abroad for the last 20 years and can recall the sounds, smells and situation when ever I look at my sketches but if I look at a photograph very rarely it stimulates me in this way. Sketching is the experience of being there. I use pencils, ink pens and watercolour for sketching and if I am going out for a day I would even take my Liquitex smooth flow Acrylics, which I am using more an more, I like their feel and the drying time suites my speed of work.

Tresco

Tresco

Tresco

Tresco

There is a great set of mill ponds on the Lizard quite overgrown and un kept spanning 2 sites, The lower ponds are surrounded by a damp wooded area with a broken but working wheel. A great area for a wildlife artist full of character. I sketched the moorhens and worked this sketch up at home ready for a set of paintings, The large Gunnera (giant rubbarb) leaves make great subjects especially when backlit. the darkness of the pools create strong reflections.

The place is Roskillys which is well known for its ice cream.

I heard there was a Black-winged Stilt at Windmill farm on the Lizard plus a Purple Heron. So I had to go, great views through the binoculars and not one but three. The Heron flew away so I did not get great views. I am trying to get the feel of the birds and did not use my scope as this would have made me put more detail in. If I get a chance I will do this next time.

I returned to Windmill farm and a Ruff had joined the Stilts also there were a pair of Gargany a superb male ,a great bird to paint, unfortunately someone got too close and they flew.

I decided to paint a quick acrylic in the field while the Stilts were around and fresh in my mind. Using images from yesterday and today I completed the sketch in about half an hour.

Sketching is not always about creating a life-like image of your subject or even recording detail. I use it to get a feel of the subject and in this case the reason I chose the birds was that it was a pure white Guinea fowl in a Cornish open garden with good strong sunlight at 4pm.

I wanted to look at the cast shadows and tones at different angles to the sun, detail was never an issue and I simplified the drawing using 2 felt pens which are great for sketching with. I probably will never paint a Guinea fowl but this study allows me to use the information for other paintings and sketches.

Study of light and shade - Trevano

© 2007 Ian Griffiths  |  Links