How to draw……. – Paula Kuitenbrouwer

How to Draw

Isn’t the purpose of an eraser to take away supporting lines and unwanted spots? Yes, of course, an eraser comes in handy when you make a mistake. However, you can also draw with an eraser. Imagine you want to create a texture. You can do this by drawing lines of dots that show the fabric of a pattern, for instance the nerves of a tree leaf. But you can also first fill a leaf with a dark tone and use the eraser to draw nerves. And you know what is very beautiful? Doing both, drawing highlighting lines and adding lighter areas in otherwise shaded sections. This creates beautiful illusions. Have a few different shaped erasers to help you: one that has a round top, one that is thinner and can be used to draw lines. Next to pencils and a drawing pad, invest in a few erasers as well. It will help you to create beautiful details.

Drawing is not a mathematical exercise, unless of course you are working on an architectural or archaeological drawing which is about facts, measurements and right angles. It is often charming when you are making the same mistakes again and again because this is your signature. Viewers start to recognize your style not only by your style but also by identifying (consciously or subconsciously) your mistakes. It is not that I say stop teaching and correcting yourself, stop improving your skills. It is just that tiny mistakes can be your truly charming style and why erase them? Your drawing or artwork is not made by a robot nor by Da Vinci.

How to Learn without having Botticelli around? How to improve your drawing skills? Listen to feedback by fellow artists and copy artists you admire. Make studies of artwork that you admire. By copying these, you are pushed out of your comfort zone and you will learn so much. Remember that apprentices in Renaissance workshops of respectable masters received training of several years. They started taking care of tools, moved on to doing handyman work. Later they were allowed to mix pigments, or trace artwork. Only a few and the very best worked closely to the master. How can we copy this classical training? By copying masterpieces and seeing what trouble we run into. You will notice improvements straight away.

Paula Kuitenbrouwer

At Etsy

At Instagram

At Linktree

How to set up a graphite underlayer?

Copyrighted sketch by Paula Kuitenbrouwer

Sometimes I take a photo of my first layer of graphite. As I use Derwent H7, the hardest of pencils for the vaguest and most subtle of layers, I can not see well how my drawing will look like. Here comes the magic trick; I take a photo and increase it in contrast and darkness. This way, I get to see ahead of my progress. I can evaluate the darker and lighter sections with ease. I can only evaluate, I am afraid, not change anything beyond this point because the composition by now is already set. Seeing the contrasting dark-light sections, however, provides me also with an impression of the movements in the drawing. With this drawing, I am very pleased. Can you see large lotus leaves and three dynamic turtles?

How to Draw an Underlayer?

I use H7 Derwent pencils for the first layer. Do I put the leaves or turtles (or any other subject) straight on an expensive sheet of Arches paper? No. I first make some rudimentary sketches in my diary or on the back of a payment slip, or on a carton of gluten-free cereals at breakfast. How often one makes a beginners sketch depends on one’s self confidence. With this I do not mean that I am confident all the time; new subjects demand more sketches than subjects you are confident with.

Is the use of a ruler okay?

Yes! I always use a ruler because I work on large Arches sheets and thus I divide my sheet in sections. Should I not do that, a turtle might perhaps have too little space and thus ‘falling’ of the composition. I use a ruler also to create white space around my composition, which is aesthetically pleasing but also handy for using a mount (passe-partout) or frame. By the way, with my remark to create space for all objects you like to include in your drawing, I do not mean that everything needs to be 100% included. It can be exciting when parts or objects ‘fall off’ a canvas or sheet. This creates suspense and an illusion that the real scene the artist had in mind is much larger than what he or she has been able to express within the limits of a canvas or sheet.

I hope this tips have been helpful. There are many more tidbits of advice on my website, just follow (the below) related posts. Or contact me freely!

This gouache painting -by your truly- shows lotus leaves still being visible within the inner decorative blue border yet not extending beyond the outer, indigo border. Some lotus leaves are put well within the double border. This variation -in order to have the signature included within the border- creates an irregular and therefor a surprising effect which is always playful and nice.

Paula Kuitenbrouwer

At Etsy

At Instagram

Contact me freely for advice, commissions, or help with choosing artwork or note-cards.

Hercules Statute Utrecht Netherlands

In my hometown of Utrecht, on two Rococo houses alongside the ‘Nieuwe Gracht’, stands Hercules holding the sky onto his shoulders. The ancient story goes that Hercules has taken up the firmament for Atlas allowing the old Titan a brief moment of respite to take up one of his labours.

I had to correct Hercules’ legs because all reference photos are taken from street level, and Hercules stands on top of a four story house, and it therefore the statute showed too short legs. I’ve elongated Hercules’ legs to create a level frontal view.

Hercules looks strong, but he is a demigod and demigods can do things we mortals can not. Yet, the maker of this statute, the Dutch sculptor Ton Mooy, has given Hercules a tormented expression.

I kept wondering why I like this Hercules. When I was about to draw his hair and face, I remembered. I had seen this kind of hair and facial expression before. Hercules has the same hair as Vercingetorix (see photo) and a similar tormented expression as the statute of the Dying Gaul (see photo), an Ancient Roman Hellenistic sculpture. There is beauty in showing that extraordinary strength and bravery often comes with pain.

Dying Gaul

Hercules Utrecht Statute by Ton Mooy, drawing by Paula Kuitenbrouwer

Herculus in Utrecht City Centre, drawing by Paula Kuitenbrouwer, Statute by Ton Mooij.

Herculus/Aardkloot/Nieuwe Gracht Utrecht by Ton Mooy

By Ton Mooy

Vercingetorix

Paula Kuitenbrouwer

At Etsy & at Instagram

Ma, a Japanese aesthetic principle, in my three bird drawings

I’d like to show three paintings in which I have incorporated Ma, a Japanese aesthetic principle. Ma is described as ‘an interval in time and/or space’, thus referring to empty spaces, vagueness or abstraction. Empty spaces, in which nothing seems to happen, are full of possibilities. How do my three birds deal with Ma in their portraits?

Ekster by Paula Kuitenbrouwer

For my portrait of Magpie, Korea’s national bird, I added orange colour to compensate for a magpie’s black and white plumage. To stay close to her Korean habitat, I decided to position Magpie on a colourful and fruit-bearing persimmon branch, heavily laden with pumpkin-shaped kaki. Magpie is content with her portrait, and so am I.

Crow Kraai by Paula Kuitenbrouwer

Setting up a composition for a portrait of Carrion Crow was a little harder. Negotiations with this proud and cheeky bird were tough. I talked him into sitting on a mountain ash branch, but initially he didn’t agree with my decision of pushing him a little to the back.

‘You are an indigo blue-ivory black bird’, I explained by pointing out that humans don’t like black things. I explained that I could trick humans in loving his plumage by adding the rich palette of colours of an autumn Mountain Ash.

‘This branch has fresh green, bright orange and deep red, and will charm viewers in loving your monotonous black feathers. And if I use a diagonal composition, I can guide the viewer along the branch, climbing up from deep red, through the bright orange to sap green. After such a colourful journey, people don’t mind a bit of solid black. But to do that, I told Carrion Crow, I have to push you a little to one side, but that is okay. Reluctantly, Carrion Crow agreed.

Sparrowhawk by Paula Kuitenbrouwer

My sparrow-hawk demanded to sit high and mighty on the top branch of a proud pine tree. The world of humans doesn’t interest him. He soars above it, looking down on our wars over oil, mass migration and our overheated, overpopulated world.

Sparrow-hawk knows he has this intricately textured and awesome coat of feathers, which makes fashion designers drool. Not much is needed next to such an eye-catching bird; two almost evenly-coloured pine cones complete the portrait. Sparrowhawk sat down just long enough for me to make a portrait, and, without so much as a ‘thank-you’, flew off to his own world, soaring high above ours.

Back to Ma.. In all three bird portraits you’ll notice considerable emptiness. My birds seem to look into this emptiness. What do they see? A suitable partner? Prey? Are they guarding their hidden nests? Are they exploring new horizons?

Ma is for you to fill in with your imagination, with your story-telling, your ornithological knowledge or poetry. But Ma can also be left open. We don’t need to fill in empty spaces with projections, trauma, words or sounds. Ma offers a thinking pause or escape from our train of thoughts.

Magpie, Carrion Crow and Sparrow-hawk understand Ma naturally. We are enchanted when we see a bird resting on a tree branch and we long to be like them: resting in Ma, accepting the here and now.

Paula Kuitenbrouwer

@mindfuldrawing on Instagram

At Etsy.

Commissions for other themed Ma drawings are open.

Commissions your Kumamoto inspired Hanging Scroll with your family (symbolized by flowers, patterns and animals).

I invite you to have a look at my portfolio on Etsy and Instagram. You might like to watch the videos of me drawing in Etsy and Instagram too.

Herculus in Utrecht City Centre, drawing by Paula Kuitenbrouwer, Statute by Ton Mooij.

Boogpoort Utrecht/ Historical Gate Utrecht by Paula Kuitenbrouwer

Working on Desborough Iron Age Celtic Mirror; adding a golden border.

Desborough Iron age Mirror, framed. Paula Kuitenbrouwer

Mandarin Ducks with Lotus, watercolour Paula Kuitenbrouwer

Bruntenhof Gate drawing Paula Kuitenbrouwer

Mandarin ducks, classical graphite drawing by Paula Kuitenbrouwer

Crossed Bison Lascaux by Paula Kuitenbrouwer

Harris Hawk by Paula Kuitenbrouwer

William Morris inspired floral drawing Paula Kuitenbrouwer

‘Ode to All Oak Trees’ copyright by Paula Kuitenbrouwer

Paula’s Butterflies Mugs

Postal Stamp design by Paula Kuitenbrouwer

Common Teal by Paula Kuitenbrouwer

Ex Libris Pet Commission by Paula Kuitenbrouwer

Wood ducks or Carolina Ducks Art Cards, by Paula Kuitenbrouwer

King Eider Drawing & Embroidery: copyright Paula Kuitenbrouwer

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Koi Carp, Koikarppi, Cyprinus carpio, Koi fiŝo, Niŝikigoi, 비단잉어, Carpa koi

Koi met Vis Vaas

Koi carp, or more specifically nishikigoi are a group of fish that are ornamental varieties of domesticated common carp that are kept for decorative purposes in outdoor koi ponds or water gardens. Koi carps are mesmerizing. People are willing to pay big money for a pretty carp fish. An ‘Agasi’, the blue koi, is particularly pretty. I think I know why.

Some time ago I sat next to a large pond that was filled with koi with beautiful colours and patterns. I looked at them and looked at them. I sat and sat and got mesmerized. I asked myself why I was so intensely enjoying sitting next to this pond and looking at the slow and gently moving fish? I just didn’t want to go home, I couldn’t get enough of it. Suddenly I understood. The pond with koi had become my thinking. Each koi represented one thought, a thought that lighted up against the dark, deep pond. Thought swam in and out of my mind and koi carp swam in and out of my vision. The more the fish got used to me and I to them, the slower they appeared and disappeared. Simultaneously, my thinking process became a flow; it slowed down and became less demanding. I became aware of my thoughts coming and going, like the koi.

Sitting by the pond and looking at the colourful, smooth swimming fish became a spontaneous meditation. Has this meditation helped me to understand the obsession with koi and the willingness to spend a monthly salary on a beautiful Agasi? Yes, I do understand now, but that doesn’t mean I became obsessed because that is a choice. However, I decided to draw a koi-series to capture the meditation experience in coloured pencil drawings. Every time I look at my drawing I want to feel that meditation again. And I hope others feel it too while looking at my drawing. This happened years ago and I’m still drawing ponds with koi. I still must be mesmerized.

Paula Kuitenbrouwer

Koi Carp Notecards are at Paula’s Etsy

Paula at Instagram