Experimenting with Colours and Techniques

A new enthusiasm and energy has taken hold recently with regards art making. There seems to have been a shift in my vision and a freer approach is emerging... I have been experimenting with new colours and foregoing detail in completed work in favour of expressive mark making. This is exciting!

I spent one afternoon playing with some new watercolour paints...

Winsor & Newton watercolours - Transparent Orange
and Sapphire Blue

Daniel Smith watercolours and W&N Cerulean Blue plus Sapphire Blue again.
Bottom half of painting had some cellophane draped over while paint was still wet,
and then left to dry. 

Winsor & Newton Gold calligraphy ink
(fortunately lightfast - beware, not all calligraphy colours are) with
Daniel Smith Undersea Green and Violet gouache.

Tricky to photograph so the gold shimmer
is apparent!

The potential of the new Daniel Smith colours is very inspiring as they granulate readily and the colours separate out into their component parts.

I have also been studying a new book by Debora Stewart and her techniques for abstracted art echo what I have been moving towards. The untitled (as yet) work shown in the stages below is a step in the right direction with a loose beginning, and I tried to keep the drawing spontaneous rather than laboured and exact.

1.  Compressed charcoal was stroked energetically
across mid grey Canson Mi-Teintes pastel paper.
Water was swished over this with a large flat brush
in multi-directions. As the work was upright on an easel
drips were encouraged to flow down the paper. You can see where I then
started the line drawing in white pastel pencil. 

2.  Once the basic composition was in place I began to
introduce some of the lightest / darkest tones and established
the insect as the focal point.   

3.  More light areas are built up with white pastel pencil and
a few more hints of ochre placed.

 

4.  The stamens of the top bloom are now in place.

5. Finally the stamens on the primary bloom are suggested
and the brightest sunlit areas are strengthened with touches of
a white Unison pastel stick. 

This drawing was very enjoyable to do and three elements helped to keep it fresh and loose. First, I stood at an easel to work which aids larger arm movements; the initial layer of large sweeping marks contained an innate liveliness and lastly I held the pastel pencils well away from the point, so relinquishing some control. Also, the limited palette works to keep the focus on the insect and small touches of ochre elsewhere lead the eye around the composition.   

Today has surely been one of the hottest so far... and I spent most of the afternoon and early evening in the studio. I would normally wear an apron when working with pastels as they are one of the messier mediums but couldn't bear the thought of an additional layer and didn't bother. Using a photo I took in Holme-next-the-Sea of pink Mallow as a starting point, I worked on a painting that focused on mark making and layering to try and capture the essence. 

A loose wet-on-dry application of watercolour

was the starting point for this painting. The base colours were encouraged to fuse and again drips were integral as I was stood at the easel.

Although the support looks white in the photo it is a warm cream Art Spectrum Colourfix paper. The slightly gritty surface happily accepts watermedia and there is plenty of tooth for soft pastel in subsequent layers. 

                 

Once the initial paint was dry a very loose drawing in charcoal pencil was 

established. Again holding the pencil nearer the end furthest from the point helped prevent 

a tight rendition. Also pushing up, rather than pulling in a downward motion, and gently rolling the 

pencil between the fingers as drawing enabled more random marks to be made.

The next step seems counter productive, but I did it anyway, and 'lost' the drawing

by dragging a flat brush with diluted gesso across the surface in multi-directional strokes. 

This is a technique favoured by Debora Stewart but with hindsight I realised she uses 

compressed charcoal so a little more of the drawing remains intact! 

The drawing is then re-established with charcoal pencil and even if more of the first drawing 

had been present this second one would have been superimposed, and slightly offset, to 

enhance the feeling of layered media. My eyes are really enjoying what is beginning to happen in this work and I'm almost tempted to stop at this stage.

I push on however and introduce more colour using soft pastel sticks. 

I limit the colours and tonal range to try and avoid confusion. 

When I pause to assess how the work is going I feel a little disappointed. Close up there is plenty to engage the eye but move a short distance away and it blurs into a generalised mid tone.

Something must be done to redeem it...

 Taking yet another risk, I lightly block in the negative spaces in the top two thirds of the painting. 

I use a white pastel pencil and hold it low so that the side of the point catches across the gritty surface and allows the under layer to still play a part. 

I finally stop and take stock again. After a few extra dark punctuations 

with the charcoal pencil I feel it is finished. 

Did I make the right choice?

Too early to tell. I need a bit of time to pass to assess it as a whole again.

What do you think?  

 

When Nothing is Working... Try Something New!

A new approach...

Last weekend was earmarked for Art with a capital A. With the West Norfolk Artists Association Summer Exhibition fast approaching, and the deadline to get entry forms in almost here, I was running out of time to produce some new work. If I had high expectations, they soon came crashing down. Nothing was working out, I felt rather uninspired and it showed. Frustration and disappointment set deep by Sunday evening. My long suffering husband had to put up with 'woe is me' and lots of sighing. "I don't know what my personal artwork is about..." and "It's all got a bit lightweight and flimsy" were some of the words muttered.

My mind must have been in overdrive while I slept, however. Monday morning I woke up, and a little mental pep talk whilst in the shower gave me whole different mindset for the day. Deep down I do know what I want my work to be about - contrasts of media, translucent versus opaque, detail versus abstract passages (for a start). I would try something different. I would experiment. Take the pressure off. I already have one pastel being framed so at least I have one work to enter. If nothing else I will at least have some fun!

Taking my theme of 'Artist in an Acre' I selected two photos as inspiration. I planned to create an abstract underpainting, then bring some semblance of order out of the chaos by working on the top but allowing passages of the initial layer to show too... These step by step photos demonstrate the stages one of the paintings went through. I started by laying the support on a waterproof sheet, on the floor, for the initial work - I planned on getting messy!

Diluted acrylic washes painted on to a canvas board - not pretty.

 

Thicker paint sponged on in selected areas.
Once dry, liquid acrylic ink is squirted and diluted on the surface,
drips encouraged.

Oooh, now things are getting interesting... dribbles of white diluted gesso.
The yellow acrylic ink wasn't as dry as I thought and mingles - I like it! 

Once the previous layer dried more acrylic ink is added...

Assessment time... 

Taking charge, now referring to reference photo more -
need to keep things loose though

Ah, now there is some context.

Keep the work loose. Spatter and droplets of brighter colour
for suggested leaves...

 

Tinted gesso for skyholes, needed some more 'pop' generally
 and more emphasis on sunlit grass. Out come the Conte crayons and
 finally 'Ta Dah' - finished!
Stream of Light, 35.5cms x 46cms, acrylic & Conte on canvas board.

I have also completed another artwork, a diluted acrylic underpainting on gessoed mountboard then worked up with soft pastel. Unusual for me, I did no blending of the pastel layers. So, when nothing is working... try something new. A different approach could work wonders. I am delighted with the results of the past two days, fingers crossed the selectors like my work!

Late Light, Spring 59cms x 54cms, acrylic & pastel on gessoed mountboard.

  

The Open Studio Experience

Doors thrown open in welcome...

Norfolk & Norwich Open Studios 2014 has proved to be an enjoyable affair and, even if not in monetary terms, I consider it a success. It was the first time I have opened up my home studio and did wonder if I would get any visitors at all as I am tucked away in a little village so far out. After a slow start on that first Saturday (the torrential rain in the morning may have played a part) the remaining days saw a steady trickle of family, friends, neighbours and a few new curious people from further afield who saw my entry in the brochure. A very big "thank you" for your support and interest, it has been much appreciated. The feedback on my studio and artwork has been very encouraging and sales of greetings cards plus a few items from the browser has been a boost.

Trying out drawing techniques with Quink ink and dip pens...

I had laid out a table with two work stations and encouraged visitors to have a go with the dip pens and Quink ink. Whilst this medium is not suitable for wall hanging work as it is not lightfast, it is perfect in a sketchbook. When diluted out into a wash with clean water the black ink separates out into delightful blues, greys and sepia - all by itself, like magic.

Will I do an Open Studio event at home again? Definitely, although maybe the year after next as it will give me time to build up a new body of work. What would I do differently? I was very happy with how I had the studio and felt the cards/postcards/browser and bargain basket were worth having. I enjoyed taking the artwork off the walls and rearranging (curating) into a new configuration - it helps to see the work with fresh eyes. I wanted to display some of my collection of found natural objects and felt having them dotted around amongst the art created coherence and added interest. I think next time I would splash out on advertising with personal invitation cards, and post notices in the 'What's On' free sections of local papers/online.

I shall leave you with some more images of my lovely studio and a few views of the work I had on my easels during the period...

Bringing the outdoors in...

Artist in an Acre 2014 display

Some of the natural objects I collect...

Information about art classes 

Dog portrait in pastel - the underpainting stage

Work in progress - camel in charcoal

Pencil drawing (from specimen) on white Bristol board, candle wax added to
dandelion seed heads to act as resist during next stage

Varigated watercolour wash applied,
plus some spatter

Colour and detail added with coloured pencil

Wildlife Painting in Watercolour and Gouache

Reference photo and drawing 

 

This delightful little hedgehog (hoglet as I believe the young are called) was a visitor indoors for one night last year, after we found him cold, wet and shaking in the grass following a horrendous day of pouring rain.  He spent the night in a large plastic box with newspaper on the base and a small towel loosely wrapped around him.  With some water and tiny portion of cat food he was left in peace and we feverently hoped he would last the night.  The following morning as I approached the box I could hear snuffling and shuffling noises followed by noisy chomping.  When I peeked in he was polishing off the last bit of cat food!  (It sounded like he was chewing with his mouth open).  He looked totally revived and we gladly placed him back where we had found him the previous evening.  On checking the area later in the day there was no sign of him, so hopefully he was fine. 

 

This painting, I think you will agree, is totally different to the monochrome canvas I showed you yesterday.  It was so enjoyable to do.  The majority of it was completed yesterday and today it was a few finishing touches.  The pale hairs on the cheeks needed pushing back with a very diluted dark wash.  Selected areas had more strong darks to make them recede.  Gouache has a tendency to darken and sink in once dry so some of the brightest lights were stroked on again for emphasis.  I shall let the photos show how this painting was built up in layers...  





 

Loose pencil drawing as guideline

Initial variegated watercolour washes over subject
and background

Continue with large round brush to introduce more
defined underpainting

Building up the layers, still watercolour

 

 

Background lower left strengthened to integrate
 hedgehog with background, also spatter for visual texture 

Now the fun starts - white gouache, tinted with watercolour,
for finer hairs and thick pale spines

Detail - translucency of watercolour and opaque nature of
gouache work beautifully together

 

Protection, watercolour and gouache

I am planning on entering this painting for the Wildlife in Art Exhibition which is also at the King's Lynn Art Centre, and runs parallel to the WNAA Small Works.  Hmmm,  I'm wondering now if I have time to create one more piece of work for it...  I have a lovely picture of a European Eagle Owl (taken during our trip to the Lake District - a rescue centre had a fundraising event), or camels at Banham Zoo... or what about the pheasant photographed on the patio last winter?

So many pictures, so little time.  If you are feeling inspired, don't make excuses, get cracking and who knows where it will lead?

 

WNAA Summer Exhibition

It has been very remiss of me not to do a post about the recent West Norfolk Artists Association Summer Exhibition.  This event is the main showcase for the membership and once again took place in St. Nicholas Chapel, King's Lynn.  Artworks entered undergo selection and this year there was some exciting work on show.  Unfortunately, having helped set up the exhibition, I was unable to attend the Preview evening which I hear was a resounding success and even had one member and his jazz band playing!  I did two invigilating stints and always enjoy engaging with visitors.  An added bonus in the second week were lunchtime concerts featuring young musicians and singers, an inspiring sound in such a stunning venue.

I had entered 3 works, and was delighted that they were all selected.  Some people were quite surprised by my acrylic canvas featuring beach huts and the watercolour of honeysuckle.  It made me realise that there is definitely a shift happening in the work.  It does all seem to be in a state of flux.  My more traditional animal portraits are on the backburner and all sorts of experiments and creative avenues are being explored!  It's a bit like throwing balls in the air and seeing where they land.  I may be investigating blind avenues or find that my creative voice evolves into something else.  I do know that I have long felt a desire to find a way to bring together more abstract passages with the representational aspect resolved in selected areas only... only time will tell and I shall follow my instincts for now and see where it leads.  I'm having fun anyway!  Here are the paintings I had in the exhibition and whilst a sale would have been welcome just taking part, and getting work before an audience, is valuable experience.

Curious, mixed media, 36 x 30cms

The mixed media involved in this one was a watercolour underpainting created with a roller, dip pen and ink drawing, then soft pastel scumbled over the surface.  The inspiration was from a photo I took in Wales on a bright sunny day.

Heaven Scent, watercolour, 36 x 30cms

This was painted from life - a sprig of honeysuckle from my garden - and created without any preliminary pencil drawing.  I just had fun with colour fusions and shapes and encouraging soft edges by touching clean water into select areas to encourage a 'bleed'. 




Evening Light, Hunstanton Beach Huts, acrylic on canvas, 41 x 41cms

This was a very free interpretation of a photo I took at the sketching evening back in June.  As we were leaving the beach a lovely low evening light bathed the beach huts and some long blond grasses lifting the ordinary into another realm.  There is a plenty of visual texture as I tried to let the history of its making show through the layers.