past bursary winners
- Tora Benzeyen – 2017
- Wynona Legg – 2017
- David Hunt – 2016
- Evelina Flodstrom – 2016
- Rachel Porter – 2016
- Lara Scouller – 2015
- Becky Thorley-Fox – 2015
- Claire Williamson – 2015
- Ben Woodhams – 2014
- Kate Aughey – 2008
- Gareth Williams – 2007
- Martin Aveling – 2007
- Helen Bullard – 2006/2007
- Antonia Philips – 2004/2007
- Janet Robinson – 2005
- Celia Smith – 2005
- Chris Wallbank – 2005/2009
- Vicky White – 2003/2004
- Anna Kirk-Smith – 2002/2004
- Esther Tyson – 2002
- Camilla Le May – 1999/2000/2001
- Deborah Grice – 1997
- Rosanne Guille – 1997
(these requirements are being reviewed/edited 20/09/18) Requirements to be met by bursary winners Examples of field work made on the course should be delivered to…
John Busby set up the seabird drawing course 30 years ago and although many SWLA members have been involved, it is an independent course and open…
To be honest, I didn’t know anything about the SWLA and seabird drawing course until last summer & the Turkish Sweetgum Project (2016) . Meeting with the four great artists who are already members of SWLA changed all my perspective on the wildlife art. With advice from them, I searched and worked a lot to apply for the seabird drawing course. It was a great moment when I received the acceptance mail from the SWLA. I was very excited because the dream to see thousands of seabird was gonna be true in a couple of months.
The week we spent on amazing Scottish coasts was incredible. Being with dedicated artists and sharing their experiences taaught me a lot in just a couple days. It pulled me up day to day. I always tried to sue different techniques and ways to express my observations. The results can be discussed but it is clear that the week was more effective than all a year that I spent alone. In addition to the artistic side, the birds were unbelievable for me. It was the first time that I saw these species and in those numbers. I can still feel every second of my time I spent with these birds.
Each of the tutors and artists were incredible. I didn’t expect to be in such a welcoming atmosphere. To see their their great interests and hospitality kept me motivated for all week. When I looked back and see the differences between before and after the course, I can say that I feel myself more controlled to understand what I draw and I am not bored anymore when I draw something for hours. Also I am more confident to use my watercolor palette freely and I am not seeing an object to draw when I look a bird. I am looking for its behaviour and try to understand it’s moves.
Besides all, I feel myself very happy to catch a chance to be with these great people in the great places. Thank you very much all the support you gave me to live this unforgettable experience.
Receiving the news that I had won a bursary with the SWLA, I was so incredibly over the moon. The news was especially welcome having had to turn down a place on the seabird drawing course the previous year because I could simply not afford to go. Receiving a bursary was fuel to keep me focused and I was so ready to fully embrace it.
I am not new to drawing birds but I am very much someone who has put my artistic career on the backburner to make room for other focuses. My recent years have been spent working within nature conservation in warden roles at some pretty special reserves around the UK. I have been privileged to have had close encounters with many breeding birds and would take the opportunity where I could to make sketches in the field between periods of intense monitoring. But I had gotten rusty and felt that I was not yet where I wanted to be in my artistic career. I wasn’t new to the concept of drawing moving subjects or working in the elements and I was ready to get stuck into a focused week of drawing. I was perhaps more than a little naïve in thinking that it would be easy…
This week has pulled me in every direction a person can be pulled! At times, I felt as brittle as the charcoal I was holding in my hand! To have eyes cast over your progress each day was originally a daunting prospect but it was incredibly motivating to have people notice things in your work that you have missed and will you to try new things to lift your work. There were overwhelming moments amongst all the mini revelations where it felt like I had forgotten how to draw! I think to be fully committed to this week you have to be someone who is okay with baring your soul and I definitely did that! I came here to push myself as an artist and I think in order to fully embrace something as unique as this, there is an element of stripping everything back and forgetting momentarily what you already know.
Similarly, I have become very used to being by myself when I am sketching. Coming into a group of other working artists suddenly felt like a lot of pressure. At first it took all my focus not to compare my work to others’. As the week moved forward, this feeling fell away. Being surrounded by other artists working was exciting. Watching other ways of working taught me so much about myself and the way I work.
Watching the way others choose their palette, hold their brush or push their pencil around the paper. We were all sitting within the same landscape observing the same subjects but the marks on our pages were often unrecognisably different. It was so refreshing to me.
The tutors were incredible all week. The investment they gave to each person in turn was inspiring. To see their happiness as people made realisations and revelations in their work throughout the week was in itself a motivation to keep growing. The guidance given by working artists was so invaluable and isn’t something I have ever been lucky enough to get before now.
Coming away from this week I have learnt to embrace the struggles of drawing in the field. To be able to step back and change something about how you are working is an important thing to remember when things aren’t going right. I have learnt to be unafraid of using different mediums to express texture, energy or light. I have always loved the simplicity of line and can get too focussed on continuity but adding something different or changing the way you use your tools can introduce something unexpected. The thing that gives me the biggest smile is the connections I have made from being around other artists working in the field. It has been heartening to be carried along on tough days by the positive words of others.
The week was amazing in so many ways. Being based in beautiful Perthshire and drawing alongside such knowledgeable tutors, carried along by the enthusiasm of fellow students and course mates, as well as the locations we drew at (Bass Rock), made the course an incredibly inspiring experience and one I feel very grateful to have had the opportunity to go on.
I really valued the time we had to observe the different species of sea birds, learning to capture their constant movement, watching them in ﬂight and their behaviour. The trip to Bass rock was especially remarkable, one I’ll never forget. Though a challenging environment to draw in, being
under a wheeling sky of thousands of Gannets was truly spectacular.
Working from life, being in the movement of the day, whatever the weather, gives rare insight. These encounters are a pleasure to try and capture through drawing.
The informal ‘crits’ when everyone shared their day’s drawing, meant each persons work was appreciated and learnt from. I always ﬁnd it interesting to see the different ways artists depict similar things, and their varied interpretation of the same subjects.
No day stands out being a particular highlight…the whole week was awesome!! The most valuable aspect for me was the tutors. Being under the tutelage of such talented and experienced artists, not only receiving advice and ideas, but being able to work alongside them was an amazing privilege. Their enthusiasm and passion for their subjects and the natural world was inspiring to see…it enabled me to see new potential in the direction of my work, and strengthened in me the desire and importance of drawing from life.
For me as an artist, the course was inﬂuential as it gave me conﬁdence to try new skills, particularly watercolour. Since then I have continued to experiment with this medium, introducing more colour into my work. This new way of working has brought enjoyment back into working in the ﬁeld.
Overall, the course was a wonderful experience, something I would love to do again and encourage others to do as well. It has breathed life back into my drawing.
Thanks to everyone who was involved!
Standing on Bass Rock, looking up into a dark, ominous sky trying to take in the spectacle of thousands of Gannets reeling and swirling in the wind. The constantly changing shapes, sharp and angular, soft and rounded, delicate tones. To try and fix an image in your minds eye and transfer it to paper. To capture the foreshortening of a wing, the form of a beak in a moment.