Getting to the Mary Ward Centre early, I picked my place, set my easel up and painted both sheets of paper a very dark grey (a Valspar tester pot named ‘La Plancha’).
The living, the dead and the plastic, reflected.
The amount of information in front of me was overwhelming, so some decisions had to be made to let the composition breathe. The easels were reduced to lines, a blank space was created to the right (there was an artist painted in at one point) and the colour range was restricted to pastels.
The simple palette was of cream and grey with a little red, blue and white mixed in; all finished off with a black pencil to define the image.
Starting the work felt like dive from a high board into a pool.
The horizontal lines are masking tape.
A detail of Mr. Skellington
A model and artist (reflected).
The first four poses were rendered on on large sheet of paper. I saw myself reflected and decided to do a homage to Velazquez. Being rather left handed I started at the right and worked left, getting larger each time.
Posted in Art, Life Drawing, Uncategorized
Tagged Art, artist, contemporary art, life drawing, londonpainting, Mary Ward centre, Modern art, painter, Painting
What to put onto the paper, what to leave out?
These decisions aren’t usually thought through too much; we are creatures of instinct and repetition. Below are two different routes to making an artwork, both using a little thought before paint hit the paper.
1. The Blue Ribbon dance.
The model in 4 poses, the other figure in the background was a fellow artist.
The palette was constricted to just one stick of compressed charcoal and some acrylic. Before making any marks I’d worked out where the 4 differnet poses were to go on the paper. There is a curve to the composition starting and ending on the right side of the page. The sequence of four 10 minute poses were paintied in this sequence from left to right: 3, 2, (the background figure was also 3, 4, 1). The last pose was a real struggle and is all the better for it; I was not going to fail on the biggest image! The marks get more emphatic the nearer the model gets to the viewer.
2. The Blue Coffee Pot
This was an hour of applying a lot of paint. The floor needed a fair bit of work to anchor all the elements. The image was started at the bottom right, roughly sketching until all the major parts related. Trying to get all the elements in correct proportion was a task as was working out the colour values Some many little jobs to do… unusually I would of liked a bit more time, the main figure isn’t completely resolved and there were some reflections of the model and artist in the dark glass that would have made the painting have even more pictoral depth. The white block on the chair is a heater. I’ve left out Mr Skellington, another artist, a lot of pot plants and many, many plastic chairs. The pink paper against the floor colour is enjoyable. The splodges of red were really there… some might have been oragne or brown, but they served a purpose being red.
It’s good to meet someone who loves their job. This model was really happy with the whole process and the end result that he had help create.
This was a quick pose painted on prepared paper.
The quick excercises and a skull.
The top image was made without looking at the page, the one on the left was made by just painting upwards and the right hand side was made with the right (wrong) hand only.
This was created by scrunching the paper up first.
This was made using both hands at once.
The last artwork of the night. Finished off at home. The perspective was strong and a battle to get right. Notice the blurring of the object further back.
The first of the new sessions.
This was made by using a large angled flat-head brush loaded with tester pot grey.
In two minutes I had the size and composition. Then with different sized pastels the details were worked out. Instead of colour and tone thickness of line was used to denote form and light.
A detail of the above. I spent longer on the face than usual.
This is nearly successful, it’s captured something of the models style.
It started with a series of diagonals, which worked quite well, though the torso is too long; a common mistake to make.
I’m now painting over work that doesn’t stand up.
It makes what remains stronger, and adds a bit of drama; if I am obliterating something the new work will have to be better.
Posted in Art, Illustration, Life Drawing, Uncategorized
Tagged acrylic, Art, artist, contemporary art, Illustration, life drawing, London art, Mary Ward centre, modern arrt, painter
I was asked by a good friend to use my art as a cover for some music he was making.
The image being so loud made the graphics nice and quiet.
Here’s a few of the printed works.
The landscape of derbyshire is dramatic in the the summertime, the exuberence of the heather, the texture of the gritstone, the abundance of greens, all topped by the big busy sky.
All paintings / drawings are from my A3 sketchbook. The making of them consisted of acrylic washes drawn over with my trusty Albrecht Dürer (!) Faber Castell pencils.
A day out to the Three Shires. A wonderful cascade of water. I set myself up next to the foot bridge and drank in the perspective of the view, helped by the large amount of people doing the same. The water was FREEZING obviously.
Thanks to Geckos kids climbing, my children were working their up this quarry near the magical Padley Gorge. I had some time on my hands so made these two works from different viewpoints. The place had real presence and it was great to see how well the kids progressed. Onwards and Upwards!
My youngest ‘snippering’ some paper at the wonderful Nelson’s monument.
The colour and composition is more abstract than the previous day’s work.
The climbing was wonderful to watch. It’s hard to believe I made it up there as well.
A view from the top of Nelson’s Monument. Quickly made, reflecting the ever changing weather at the top of the rocks.
This was meant to be in black and white. The colour are very garish in real life.