Steph Coriander is a Glasgow-based artist, who draws inspiration from the Scottish landscape, with much of her painting and drawing practice taking place on location. Here, Steph shows us through her sketchbooks, explains her techniques for approaching the landscape, and shares her advice on materials to take when working in your sketchbook on location.
Steph Coriander Takes Us Through Her Sketchbook Practice
I’m not organised with sketchbooks and I always have lots on the go all with very jumbled timelines. I used to be envious of neatly organised sketchbooks, all labelled and ordered, but I’m learning to love the way I use them. Actually, I do like it, because every time I open a sketchbook I don’t know what’s going to be inside. It’s a nice surprise, especially when I can always remember where the drawing was from. Sketchbooks are a great space for my thoughts to explore.
Sketchbooks allow me to connect with the landscape in a really unique way. Whether I’m going on a hike or going out for a swim, I love to have a sketchbook with me ‘just in case’. Hardcover sketchbooks are a must for travelling with and using in the elements. Having the option to draw provides a different way for me to access the landscape. Observing enables me to connect with my surroundings in a much deeper and more appreciative way; it’s a deeply personal practice that feels spiritual.
Noticing is a mindful act I love to practise in my daily life, with or without a sketchbook in hand. This mindful act takes on a whole new meaning when attempting to put a vast panorama onto paper. Initially, when confronted with a landscape, I’m frequently overwhelmed by the sheer beauty and abundance of it. Sometimes I dive straight in, and my first drawing is always overworked and disjointed, my intrigue being pulled in too many directions.
I’ve learned to work quickly and get multiple pencil sketches onto my pages; some look abstract, some are merely outlines, and some with more detail. Each page is an exploration of a specific element which has sparked my interest. From here, I hone in on the element which pulls me the strongest. It allows me to scale back in order to produce the type of spacious work that I strive for. Sketchbooks are integral to how I work and even how I think, visually. When I take sketchbooks with me they become a visual diary of my journey.
Recently for hikes, I’ve started taking nothing but a small Royal Talens sketchbook, a Blackwing pencil or two, and some charcoal. That way I can get big blocks of shadows or precise lines down quickly, without being weighed down. I really like the creamy tone of Royal Talens sketchbooks, and the Royal Talens Art Creation 21 x 15 cm sketchbook is perfect for panoramic views.
The first time I see a stunning view it can feel intimidating, and sketching out ideas in simple materials is a great way for me to get started. I have a tin of Caran d’Ache Neocolor II Artists’ Watercolour Crayons which I love to bring for adding colour. The fact that they are watersoluble makes them a versatile choice. I have a distinct colour palette which I like to use, and I know I can mimic some of the colours in the landscape, whilst amplifying others.
For planned location drawings, when I want to spend longer on my work, I’ll usually bring a Pith sketchbook because they can withstand more wet materials. I frequently use a mixture of inks, both acrylic and watercolour inks, because I love the difference in transparency. Another plus with a sketchbook that can hold a lot of wet materials is you don’t have to be discouraged by light rain!
The one material I couldn’t live without are Caran d’Ache Neocolor II Artists’ Watercolour Crayons. I smudge them in with the inks – I love to use my hands when I’m creating, it helps me feel connected to what I’m drawing as well as my surroundings. The immediacy of using sketchbooks on location is priceless. Whilst the weather isn’t always ideal for bringing inks and paints outdoors (especially in Scotland), an acrylic marker or brush pen is really handy to get sections of colour down in the cold.
When I take a sketchbook with me on a walk or on a journey, that book becomes a visual diary; looking back through it, I’m able to recall so much more than what is literally on the paper. Being primarily concerned with capturing the landscape, sketchbooks are a vital way for me to draw whilst in situ. The importance of drawing on location, for me, cannot be overstated.
I’ve recently been drawing a lot from imagination, and I know that it wouldn’t be possible without first accumulating a wide repertoire of mountains sketched from life. I feel like I’m learning the mountains, the type of edges and shadows they have. Despite this, when on location it’s essential to never assume, and some of my sketches look entirely abstract.
Sketchbooks are the perfect place to let your creative problems unravel. Draw what you’re noticing, follow your gut, and over time you will build up a collection of what interests you. If you take the time to reflect on what themes you’re returning to, it can help gain a real insight into your practise. It’s important to follow what captivates you. When I first started using sketchbooks I wanted every page to look immaculate, I was precious over materials and I didn’t want to ‘waste’ anything. Unfortunately, this is a sure way to keep you in your comfort zone, and it won’t allow for any progression – that takes risk. Lastly, it’s ok to make drawings that don’t make sense at the time – sometimes, when you look back, you’ll understand where they came from.
Materials:
Caran d’Ache Luminance Colour Pencils
Faber-Castell Polychromos Pencils
Talens Ecoline Liquid Watercolour Ink
Liquitex Professional Acrylic Marker Pens
Molotow One4All Acrylic Markers
Daler-Rowney System 3 Acrylic Paints
Sennelier Abstract Acrylic Paint
Jackson’s Handmade Soft Pastels
About Steph Coriander
Steph Coriander, an artist based in Glasgow, draws profound inspiration from the landscapes of Scotland. Her artistic vision revolves around exploring the essence of natural environments, combining the interplay of line, negative space, and texture. A dedicated advocate of location sketching, Steph’s creative process is deeply intertwined with the connection she feels while immersed in the landscape, viewing it as a spiritual experience that allows her to fully engage with her surroundings. Her preferred mediums, wax pastels and inks, enable her to push the contrasts between texture and movement in her work. Steph Coriander is a graduate in History of Art from the University of York and from the Arts University Bournemouth.
Further Reading
Tips for Painting While Travelling
Inside the Sketchbook of Frances Ives
In Conversation With Simon Frisby From Etchr
Shop Sketchbooks on jacksonsart.com
I’m so glad you introduced us to Steph
Coriander, the Scottish artist! Her
sketchbook approach is truly impressive,
and it’s fascinating to see her creative
process in action. Thanks to Steph for
writing the article and sharing her
thoughts about her sketches!
Thanks Rhia!
Amazing artwork and such inspiring
words. Makes me want to pick up a
sketchbook immediately! Would love to
hear more from Steph. 🙂
Thanks for sharing Alanna! Great to hear it was so inspiring!