A succession of hot, sunny days, watering the garden daily and witnessing the exuberance of peony roses, poppies, lily of the valley and all the other joy going on around me proved irresistible. I got out my pop-up tent and set up studio in the garden, the tent covered with a blanket for shade, and painted in the afternoons. These are 4 pages from my sketchbook, the same one as my Easter weekend work in April, when I made a change to my work method and wrote about how, at first, changing the approach to my work made me uncomfortable. I really didn't like it to start with, but now I am loving it.

I trained as a painter at art school in Edinburgh, Aberdeen and Chelsea School of Art, London, where I took my MFA in painting. I was represented by a gallery in Covent Garden, and also showed my work regularly in London galleries and at times in Europe. After graduating I had to find work, and it just so happened I ended up in design and applied arts, so drawing became my main focus. It wasn't hard because I love drawing and used to work in my Dad's architectural business during my school holidays; at school we were taught to draw in the William Morris and Aubrey Beardsley tradition. I also enjoyed the purpose of design.

Drawing is, of course, the backbone of my Heather Eliza work. The duality in my work methods was what prompted me several years ago to make a clear division and illustrate under the name of Binky McKee, with license to be as decorative as I wanted. At first I didn't really understand what I was doing and there were, naturally, a few crossovers between my Heather Eliza drawings and Binky work; but over time the divide widened. My Easter weekend work experiment of not filling in a drawn outline has widened the divide further as my instincts as a painter come into play.

It is a strange fact that the work I was making digitally last year in Procreate first reawakened my old painterly instincts. I was thrilled by what I could do when I got the app on my iPad, and it is still invaluable to me. I don't use line at all when I work digitally, but build illustrations in exactly the same way as I used to paint. I am still working on a children's book in this way, often incorporating hand painted images. Now my painterly instincts are wide awake once more - I might even make a whole painting on paper one day, rather than just design elements!

Thanks for dropping by, see you next week! 
If you would like to see my drawings you are welcome to visit my website at Heather Eliza Walker.

This week I made a version of last week's pattern, set against a textured blue background which looks very happy to me; I also cleaned up some drawings of fish, and began making seaweed and coral forms for them to swim amongst for a new pattern. I also celebrated my 60th birthday on Wednesday, which meant not a lot of work got done!

It's Sunday, the sun is shining, so I am not going to write any more - I'm going outside now. I hope you are having a lovely weekend,

Thanks for visiting, see you next week!

This week I developed two of the experimental patterns I made previously from my Easter sketchbook. I was delighted with both, but particularly liked the image above for the clarity of its jewel colours offset by the black background. I love how they look on Redbubble's products; for some reason I am usually most interested in the framed prints, pillows and mugs - I guess home decor is my thing!

My shop on Redbubble is growing, there is still a lot to do but I am finding my way around the platform nicely nowadays and I love it. I feel more confident about it now, so here is a collage of four of my designs on pillows. I finally feel brave enough to link the image to my account, so please click if you are interested in taking a look - and you can also explore some of the truly amazing artists producing very cool designs on Redbubble.

Thanks for visiting, see you next week!

It’s a Wednesday mid-weekly today, because I got out of the studio over the Easter weekend.

Friday, Saturday, Sunday and Monday presented the most beautiful, hot sunny weather. I caught up with laundry and gardening in the mornings, but I also set myself an art challenge for the afternoons to work in a completely different way from usual. I was not to make habitual line drawings coloured in with watercolour, but instead to paint with gouache directly onto the paper.

The garden is sprouting, blossoming and budding all over and I wanted to get outside in the sun and paint what fascinates me. I pictured having a lovely collection of about 30 observational sketches by the end of the weekend; in reality I ended up with just these 10. It was slower than I anticipated because I spent a lot more time gardening and hanging washing on the line than I expected, but when I did start work in the afternoon there was a bit of a breeze, strong at times, which would suddenly blow my sun hat off and I had to chase it around the garden. The wind also kept turning the pages in my sketchbook while I was trying to work. I haven’t worked en plein air for many years, and I noticed a big change: nowadays I have to wear spectacles for close work, meaning my object was of focus when I looked up, which became a nuisance.

The main delay, however, lay in the materials and work method I had set myself. I hated it at first. Working without drawing went so against the grain I felt way out of my comfort zone and unhappy. I was using a sketchbook I made from Fabriano Rosaspina (a thick print-making paper) and Arches watercolour paper, instead of the tissues and smooth papers I am used to, and it felt rough and messy. The work I was producing was hideous and I wanted to give up, but I felt the exercise was a good idea and it does one good to get uncomfortable at times, so I forced myself to persevere.

The reason I challenged myself was to shake things up with my work. I felt I had been relying too heavily on linear work, marks, automatic actions and default shapes; I also have a habit of getting fiddly and over-detailed, which I wanted to break. Besides, the way I sit to make detailed drawing is bad for my back, and I get wobbly legs when I stand up which in turn makes my hands shake, and then I can’t draw because my line goes shivery. I don’t want to stop making detailed line drawings (my work as Heather Eliza Walker relies on it) but I thought it would be a good idea to take a break and try something completely different for a few days, and see what possibilities might come of it.

So, I did persevere. I got through the initial hate stage by allowing myself a compromise: I could use line and marks on top of the paint. That was satisfying, and I began to enjoy the colours and freedom of working this way. Then I found I could introduce painted elements such as stripes, introducing a satisfying linear quality which firmed the work up. The result was not the observational work I had anticipated, but being outdoors amongst the plants and flowers certainly informed it. I had no idea until this weekend what actually went on inside a quince blossom, or how things sprouted out of other things in different colours and shapes. I definitely responded to the interaction of what grows from the ground with sky and earth, and got out of myself.

Yesterday I scanned the work and found I really liked it, to my surprise. I feel I achieved something, and enjoyed being out in the fresh air. In spite of not producing the 30 beautifully observed Diary of a Country Lady works I had hoped for, I am happy with my 10 a bit weird and wonderful creations, which were observational in their own way and taught me a lot. My back and legs are better, and I feel healthier for it, too; so in future, I shall get half moon specs, tie my hat on with a scarf and get outside more.

Thanks for visiting, see you next week!

This week I have been absorbed with making a summery pattern, based on a watercolour I painted a month ago. When it was finished I had experimented with it (see March 17 entry) but set it to one side because there was a lot of work to do before it could be made into a proper pattern; problems with strong stripes and diagonals, empty spaces and lack of flow in particular were troubling. However, I got it out again last weekend and had a closer look, saw potential, and decided to give it some time and see what I could do with it.

It took all week working on it every day, with much more time in cleanup than I would normally like, because when I painted it I wasn’t really thinking about pattern-making. It presented challenges which I enjoyed, together with a few panic attacks worrying that I was wasting my time; but it had a quality that made me persevere and finally, this evening everything fell into place and here it is in 4 pastel colourways.

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This week I made a pattern from townhouses inspired by Edinburgh terraces. I enjoyed the drawing work, I found plenty of scope for imagination.

Architecture is finding its way back into my work since the house move from rural Perthshire back to Dunfermline town, Fife, where I was born and grew up. I now have familiar views from my work room over lovely houses and an abundance of trees and gardens. My Dad was an architect, and I used to work in his studio during school holidays; I still have many of his architectural plans and drawings.

It is interesting that fewer midges, other insects, and plant life are appearing in my work now - it is great fun to introduce them to buildings in drawings (not literally!)

​Thanks for visiting, see you next week!

Monday: I finished the linear flower drawing I was working on during  the previous week.
Tuesday: a mock-up for some colour ideas for a pattern.
Wednesday: I began work on a coloured version of the linear flowers, painting with gouache.
Thursday: I completed the gouache work when it filled the entire sheet of paper.
​Friday: i played around with different coloured stems and backfill fronds.
Then, over the weekend I took scans of some the sprigs in the drawing and cleaned them up. They look pretty and full of character which I like, I am sure they will come in useful.

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I had a brainstorming session this week. What I do when I brainstorm is to work very fast, allowing myself 4-10 minutes per drawing, and do as many as I can until my brain runs dry. I don’t worry about good drawing, expertise, or mistakes. In fact, the time limit prevents overthinking, so mistakes are good; I believe problem-solving is one of the key processes which help an artist to find their own voice, and working fast forces you to think on your feet and get resourceful in a way only you know.

Once I have finished the drawing session I take the more interesting ones into photoshop - not necessarily the best, but often the craziest which appeal to me - and I treat them in the same way as I would treat a considered project. It is amazing what reveals and connections occur. The collage above is a mix of revisiting works I have made as early as 15 years old, bonkers stuff that came out of photoshop, one which is rough as anything but I worked on some more (the yellow cat), more bonkers photoshop, prints I made 10 years ago (bottom left) which have good pattern-making potential to take forward, and lastly the line drawing in sepia and brown, where this week’s happy process led me today.
I recommend this exercise to anyone who suffers from creative block. I only get creative block in times of great sadness or similar emotional times, but I do get incredibly frustrated with myself. I have too many ideas and try and go deep into them all. This is a great way to separate the wheat from the chaff, to get back to your core, to see what is time-wasting and get back into your quiet self. I always feel cleansed, relaxed and stimulated after one of these sessions, ready to take on new work.

Thanks for visiting, see you next week!

I made a return to working with my hands this week, as opposed to digitally!

Procreate on iPad was a miracle during the house move, requiring no space or materials other than a stylus and a charger which enabled me to continue to work and generate new ideas (when there was time). I created some digital work which I find truly wonderful - see last week's post.

At the beginning of this week, however, I was struggling with it. In the end I became aware that I was trying to replicate my freehand drawing methods and it wasn't working for me. I tried every brush and everything the digital brushes could do, but I was going silently mad in the process. I know there are artists out there who effortlessly produce work in Procreate and create their own brushes to suit, and I can't tell the difference between their digital and hand-made works, but I was spending hours - days and hours - and getting frustrated and wasting time producing hellish, ugly, stiff, overwrought works.

In the end I thought that was nuts. My studio is well enough organised now to be able to work by hand and get it into Photoshop. I set up my room so I have a drawing table and a Mac table with a large enough monitor to finish hand drawn and painted work for Redbubble merchandise, so here is what I came up with: a floral watercolour which became a very lovely pattern, a home-made rubber stamps design (ditto), and a cyan line drawing of a spaced-out cat in a garden which I don't know yet what will become.

I will continue to work in Procreate, it is an amazingly powerful tool for iPad and I enjoy using it. I have created many works over the past year, discovering fascinating ideas which I wouldn't have happened without it (see previous posts!). But I have to say it was lovely to get out the pens, pencils and watercolours again, too.

Thanks for visiting, see you next week!

PS I will be linking to my Redbubble shop, it just doesn't have very much content yet!