Fast forward 40 years, and for all my skies, I draw, building up the layers of graphite pencil and using blending tools and erasers to create each sky. I always laugh about the fact that as a kid I used to do drawings of Yorkshire and Northumberland villages and sell them at local fayres, but as I wasn’t confident in those days with drawing skies I always left them blank.
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I’ve actually had to teach myself how to draw again and especially in terms of skies, I had to quickly develop some advanced skills. I get up early each morning and once at my chosen location I use sketch books, photography and sometimes film to record as much information as possible.ĭunstanburgh Castle, Northumberland Drawing I choose all my locations before I start my trip by using Google Maps to pinpoint specific viewpoints to maximise my time there. This former fisherman’s cottage is the base for all my Northumbrian work. Several times a year, I relocate for a few days to what I like to call my ‘man-cottage’ on the island of Lindisfarne which is off the wild coast of Northumberland. I hope this gives a good insight into the methods I use and how I run my studio. Most often I’m asked about my influences, my non–toxic approach and the specific steps I take to create new editions. Having just been accepted as a guest artist at The Biscuit Factory in Newcastle, and about to have work publicly displayed in the Royal Pastel Society Annual Exhibition, Christopher was preparing for his first solo show.īuyers often ask me about the various processes and techniques I use to produce my prints and gravures. Based on an interview with Christopher in May 2014.
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