Labels

Wildlife Artist Feature-Szabolcs Kokay


Szabolcs Kokay sketching in Papua New Guinea, with native kids from Papua New Guinea


Welcome back to yet another inspiring Wildlife Artist feature. I have been interacting with few brilliant Wildlife artists lately and couple of them highly recommended me to speak to our artist for this feature. And so I did , highly versatile, global trotter, he has seen and painted some of the rarest wildlife on the planet, his artwork is published on Indian Birds magazine cover, illustrated for books and yet down to earth. For an award winning artist to be kind and responsive is a rare quality indeed. Without further delay let us speak to the brilliant Szabolcs Kokay! Shall we? 

Name of the Artist: Szabolcs Kokay
Location:  Hungary
Date: August 2020
Form of Art: Painting

Dear Szabi, warm welcome to our Wildlife feature. I am excited to know more about your art journey? What inspired you to take up art?

Thank you so much Prasad! I have been drawing as long as I can remember. Since my teenage years I have been a hobbyist birdwatcher however haven’t combined these 2 interests for long. The turning point of my life was: working at BirdLife Hungary’s headquarters, it exposed me to several international publications, that had excellent bird drawings. This inspired me to draw birds, when I was 20-year-old (1996). 5 years later I gave up work and took art as my profession. 

May I know how you learnt this artform? Do you have a Mentor or Mentors?

After realizing that nature art interests me, it was too late to join and an art college. Hence, I decided to learn everything by myself. Studying other wildlife artists works was helpful. Since Internet, social media presences were not so prominent during that time, I couldn’t seek help from other artists. Luckily Hungary’s best nature artist, Róbert Muray moved to my district. He guided through his suggestions whenever I used to get stuck or needed guidance. I am sincerely grateful for his honest criticism. Unfortunately, he passed away in 2009.

I have realized that artists who have the biggest impact on me, are the ones who regularly work outdoors, this set my path. Since the whole wide world is connected through social media, it is immensely helpful to have the opportunity to stay in close contact with a number of international artists. I remember, when switching from acrylics to oils in 2005, it was James Coe, master oil painter from the United Sates of America, who guided me with the new medium. (Social media surely has opened doors to many of us artists with unlimited possibilities) 

Stephanie’s Astrapia, oil on canvas-board

We all have our favorite medium. Do you have a favorite medium? If yes, could you explain why?

Definitely watercolors! It’s clearly my favorite because of its transparency, is the best medium to catch the effect of light. I also love its versatility. I paint detailed illustrations with watercolors (bodycolor is added for the finest details) and use it for fieldwork too. I’m still struggling to use it in the loose way that would satisfy me, but don’t give up. I find it very difficult to change the style from the meticulous illustration work.

Working live is not easy? Could you please share the challenges you face while working live? And how do you overcome them?

While working outdoors the most difficult challenge for me is getting into the right mood to work. My experience is that it is the best to devote several days to it. The first 1-2 days are spent in getting accustomed to the surroundings. My best plein air expeditions were from Trinidad in 2011 and the visit to Papua New Guinea in 2014. During these trips I concentrated on painting from nature for 3-4 weeks. That was a productive expedition.
The next difficulty is capturing the colors and the light. I find it much easier to paint the same scene from a photograph. Mixing the right colors are easier when working from photographs. However, this means that a photograph is a hugely simplified version of what we see. I want to recognize this difference and try to add that little extra what I see with my naked eye. I read and watch videos on color-mixing, hope this will help me overcome the color mixing challenge in the future. (Color mixing is a nightmare I wish to overcome someday!)
I also have a lot of difficulties to overcome the temptation of photography. I own a DSLR camera and Digi-scoping, this often takes away my attention from painting. However, I always carry my camera on the field, since I don’t wish to miss any great opportunities. Hence, this remains an unsolvable challenge. (Photography is a necessary evil, I can very much related to this challenge on the field!)

Peregrine Falcon on Saint Stephen's Cathedral in Budapest, acrylic on paper

Could you please share the essential materials to carry when sketching/drawing/painting live?

I usually have a few A5 size watercolor spiral sketchbooks and also A3 sized cold pressed watercolor sheets (my latest finding is the Canson Heritage paper). For drawing I use 2B pencils however when I was working in humid rain-forests, I needed much softer ones (4-6 B). I use eraser and pencil sharpener. I have a metal watercolor palette with some 10-12 colors. I carry a variety of brushes, round and flat. Additional materials are spray bottle, paper towels, foldable chair. And of course, the optics, a Spotting scope, binoculars and my cameras.

A5 size watercolor spiral sketchbooks
A3 sized cold pressed watercolor sheets
Canson Heritage paper
Drawing essentials- 2B,4B and 6B pencils, eraser, pencil sharpener
Metal watercolor palette (10-12 colors)
Variety of Brushes (Combination of Rounds and Flat)
Spray bottle, Paper towels, Foldable chair
Spotting Scope, Binoculars and Cameras

From following your work, I have seen that you have traveled worldwide. Could you share your experience traveling to India, West Papua and China? Your memorable sightings from these places?

All my 5 trips to India were incredible. When I first visited in 2004, my first day of bird-watching was on my birthday. I was in Keoladeo Ghana National Park. It was the best birthday ever (bird-day)! On the same trip, we’ve visited Sonkhaliya Closed Area, close to Jaipur. There were 4 Great Indian Bustards present at that site back then, We spent the whole day looking for them without success (We found their footprints). Shortly before sunset, we headed back to the hotel however had a last stop at a small hill, where we already scanned around since morning. All my friends were tired, it was only me who took my tripod and climbed that hill. I can still recall that adrenaline rush when I’ve spotted 3 Bustards in the distance! I follow the dramatic news about the decline of this legendary species, I’m afraid they’ve disappeared from Sonkhaliya. (True Great Indian Bustards are in Great threat of going extinct)

I have witnessed 3 Tigers in Ranthambhore on my first visit however these were not that good sightings. So, I was absolutely stunned, when I returned in 2016, I had my very first Tiger (Krishna) within 20 minutes after entering the park on our first safari! Then the same day, during the afternoon safari, I bumped into her daughters (Arrowhead and Lightning) with a freshly killed wild boar!! Watching them fighting over the prey, hearing the crushing of the bones was an incredible experience!

My 3 other trips were to Ladakh, looking for Snow Leopards. We had 4 sightings of 6 Leopards in total, all of these are memorable however Let me share about the first and last ones.
In 2009, after 5 days of futile search, we found some promising pug-marks at the entrance of the valley next to our campsite in Hemis National Park. Entering the valley, we immediately noticed the alert behavior of the Blue Sheep. At one corner, we flushed a Snow Leopard from the bottom of the valley however it crawled up the slope in front of me so well camouflaged, that only 2 of the 5 of from our group saw it! And I was not one of the 2! I felt terrible. We tried to relocate the animal in vain, so decided to go to the other side of that particular mountain it disappeared on. Climbing up to a vantage point was painful, I lost all my strength. Our guide, Smanla Tsering relocated the Leopard for me from 1 kilometre, only by spotting one ear behind a rock! It was such a relief; I could watch the cat for an hour.

My last trip in 2015 was at the end of March. The valley experienced unusual mild weather, so my guides were not too optimistic about my chances (due to the high temperatures the Leopard activity is more confined to nighttime). After the 6 unsuccessful days the whole team retreated to the tents however our guide climbed up to the watch-point over our campsite. Luckily, I followed him, as we found a mother leopard with 2 cubs on the top of the opposite ridge. I could enjoy a full 2-hour show (you may watch some of my videos on my YouTube channel). But the story did not end here. Next morning, my guide woke me up with the news, that the 3 cats are still here. The Snow Leopards spent the whole day on a ledge over our campsite. That was mind-blowing!

Snow Leopard in the Hemis National Park, oil on canvas-board

In 2019 I took a 3 weeks trip to West Papua. I am very much interested in Birds of Paradise, so I concentrated to have good sightings. For example, while the rest of the group took a boat trip around Waigeo island, I followed a local guide to a forest tower to watch Red Birds of Paradise. I had incredible views of male birds calling, displaying next to the hide.
In the Arfak Mountains, I tried to see the display of the Vogelkop Superb Bird of Paradise (a recently described, new Birds of Paradise species). On my first attempt, the bird was calling nearby however didn’t come down to the display log. Next morning, another hide: I witnessed full display and even mating! The film crew spent the next week without even seeing a bird.

Shorebirds are my favorite bird group. I desperately wanted to see the best species, the Spoon-billed Sandpiper. Visiting Chukotka in Siberia would be horribly expensive, so I decided to head to a mudflat area not far from Shanghai in May 2013. I devoted 2 weeks to for the search, and although having Spoony sighting almost every day, it was not until the last but one day, when I had the desired observation. Locating one separate bird close to the shore after the tide started receding was great luck, later I’ve painted the scene at home.

Szabolcs Kokay painting on location during his visit to India

One of my favorite question. Who is/are your favorite artist/artists?

The list is very long and I’m afraid, I might miss a few from my list. The following artists devotion to working outdoors is the biggest inspiration to me: Lars Jonsson, James Coe, Chris Rose, Paschalis Dougalis, Jose Antonio Sencianes Ortega, Darren Woodhead, Andrea Dranae Ambrogio, Stefan Boensch, David Daly, Nick Derry, Barry van Dusen, Federico Gemma, Vadim Gorbatov, Andrew Haslen, James Gurney, Keith Brockie, Peter Partington, Bruce Pearson, Tony Pridham, Darren Rees, Mans Sjöberg, Richard Johnson, Robert Vaughan, John Threlfall, Tim Wootton, Juan Varela, David Bennett, Ben Woodhams. And many more! 

Could you share your experience about receiving Bird Illustrator of the Year 2000 and Birdwatch Artist of the Year 2008? How did you prepare for this competition?

The PJC Award of the Bird Illustrator of the Year competition in 2000 was my first art prize. It was an incredible experience; I remember it took me a while to understand the letter (my English was not that good back then). It was also a bit intimidating, as I was very unfamiliar with the international wildlife art world. It was the first time I took a flight in my life to pick up the trophy at the British Birdwatching Fair.
The 2008 Birdwatch/Swarovski award was very memorable. My younger son was only 1 year old, I was alone with him at home. I was right in the middle of changing nappies, when my phone rang. It was fellow artist, Katrina van Grouw from London with the great news! 
Spotting Scope won from this contest accompanies me in all my field trips around the world, it’s the most important tool in my work.
I won this prize with an oil painting, showing juvenile shorebirds. It is based on my experience seeing my 2nd ever Pectoral Sandpiper in the company of other waders. I had started that painting for a book cover competition (the empty water on the upper right quarter was originally left for the title) however had a lot of trouble with painting the mud. After almost 2 weeks of trial and error, I gave up in a hysteric state and missed the competition. After a few months rest, I picked it up and completed for the Society of Wildlife Artists exhibition in a few days, where I won the prize.

"We are all young" (juvenile shorebirds), oil on canvas-board

Could you tell us more about illustrating for books? Would illustrations still be used in the future for guides? Your thoughts about nature illustrations?

My most interesting and challenging book illustration commission is the ‘Birds of New Guinea’ by Princeton University Press. I am working on this book since 2011, creating new illustrations mainly due to taxonomic changes and to new information about the identification of some bird groups. It’s not simply an artistic work but I have to dive deep into the science, visiting museums, reading articles, papers, communicating with birdwatchers, ornithologists. I am working very closely with one of the authors, Thane K. Pratt, and thanks to him, I could visit New Guinea on 2 trips (Papua New Guinea in 2014 and West Papua in 2019). I am very proud of the work we did together during these 9 years.

I am sure that illustrations will be used in the field guides in the future (despite the growing bird photography). I hear all the time from birders that they prefer illustrated guides much more compared to the photographic ones. I think the reason is that illustrations can show the specific characteristics way much better and an illustrator can build up a plate in a book aiming for the help of birders in the field.

I clearly see the growing of digital illustration and I think that will slowly take over the market. I still prefer the ‘stone-age’ method of creating the illustrations on paper with brush. I quite often find digital illustrations a bit too sterile. But it’s clear to me that working digital is much quicker and publishers can find them easier to work with. I think I’m too old fashioned to change, probably will move more towards art from illustration.

Bird of Paradise illustrations from the ’Birds of New Guinea’


Thanks to social media I get to interact with artists from all over the world. How is social media playing a part in art and artists journey in your opinion?

I greatly like the opportunities social media gives us. It is time consuming and there is lot of invaluable content however one needs to filter out the valuable content. Being present on Facebook, Twitter, Instagram gave me a real good exposure and even some business/income. Following other artists everyday work, keeping a close contact with a lot of them is highly valuable for me. Sometimes I ask the questions, sometimes I am asked for information/help, it works like an online community.

Your views on need for a society for nature artists and what can be achieved through such community for artists?

I am a member of the United Kingdom based Society of Wildlife Artists for several years. The society’s values are very close to mine, most importantly the above-mentioned field experience, field work is very important to almost all the members. I highly appreciate the way they look for originality and uniqueness in every artwork. 
Society of Animal Artists works with very similar values in the United States of America, I won a scholarship award from them in 2010. Probably I will apply for membership in the future.
I love the wildlife of India very much, so I will be excited to follow the work of Artists for Wildlife and Nature in the future. I would love to become a member if it's possible for non Indian residents.

I am thinking about the idea of bringing nature to the public through wildlife art even discussed this with some of my artist friends. However, I am not much of an organizer, so it remained only an idea. Perhaps social media could be the right platform for this. I’m open for any further discussion. (It is great idea, public in general are rarely exposed to great quality Wildlife art or Nature. I think social media is a great platform to discuss ideas and come up with a plan and execute it) 

European Wild Cat catching Grey-headed Woodpecker, watercolor and bodycolor on paper


I look forward to this important question all the time. Your top five tips to becoming a good wildlife artist? 

Fieldwork, fieldwork, fieldwork, fieldwork, fieldwork!
On a serious note: Do your own observations, look for your own inspiration, don’t simply copy a photo of a Tiger portrait you find on the internet. I think with the growing of nature photography, wildlife art should develop into something more, it should add more value to the existing content.
The ones above were a bonus, here are my top 5 tips:
1. Sketching on the field, as much as possible (I also should be outdoors more often).
2. Take your own reference photos, try to look for ideas and compositions and take your references accordingly.
3. If you are not satisfied with your work, that’s probably a good sign, it’s a gate to development. Try to live with this frustration.
4. Never stop learning. Look for good art books, about various subjects (composition, drawing, color mixing, etc.), read them. YouTube is fantastic for tutorial videos, try to select the really useful ones, watch them. Use social media to follow other artists works, feel free to ask them questions.
5. Try to use your art for education. Children are excited about nature and about drawing/painting. The best combination to bring them close to nature and rekindle the love for nature. And they are the best audience (that’s my own experience).

Slender-billed Curlew with Eurasian Curlews, oil on canvas-board


Here is a Great Bustard watercolor studies painting from his YouTube channel:

It is such an honor interacting with you Szabi, I would like to thank you kindly for taking time out to patiently answer to all my queries! 

This is tenth artist interview and I must say one of the most comprehensive conversation I had in length with a master artist! 
It was both informative and inspiring interacting with you. 

Wishing you great health and success for your upcoming projects.


I will be back again with another interview soon! Until then, watch-out for artworks and discussions on Artists for Wildlife and Nature Facebook group! Artists for Wildlife and Nature.


Labels:

Comments

Post a Comment

Popular Posts