Archive | April, 2019

An Arty Gym Workout

30 Apr

FIRE1

Another quick scribble in my little sketchbook. I used to sketch every day, for many years, then I got out of the habit over the past year or so, it become infrequent. But I’m up and running again now. Sketchbook work doesn’t have to be too polished or finished. It’s catching brief moments and in doing so, practicing composition, perspective, proportion, line-work, tonal values …. It’s like an arty gym workout.

Complementary

29 Apr

Pat Orange 2

I carried on painting today. I’m just doing a bit at a time because I tend to get very stressed over painting, which doesn’t happen when I draw or make original prints. So I’m just dashing over to it, slapping some acrylic paint on it, then dashing away to do something else. Today I put a wash of orange over the yellow towards the bottom of the canvas roll. It’s a complementary colour to the blue and I like using complementary colours – they create such intensity. I also started to block in some darker areas on the overalls, overlaying the cerulean with a red-biased pthalo blue. I’m using Liquitex Heavy Body acrylics, mostly transparent or translucent as I like layering glazes over each other. This is a portrait of the artist Patti McJones that I started 5 years ago, it’s a big piece, almost life size.

28 Apr

GS artists 2

Another recent page from my sketchbook, getting back into the swing of scribbling regularly after a fallow period. I scribbled these at an event at GS Artists in Swansea yesterday.

Local artist Owen Griffiths has just completed a residency there and was presenting his  recent “research and ideas around land use, climate change, place and working in Wales.” It was very interesting and provocative and I’m looking forward to seeing how it develops.

Keeping My Hand In

27 Apr

GS artists 1

Husb and I went to an event at GS Artists on Swansea’s High Street earlier today, featuring local artist Owen Griffiths. I had to have a scribble, of course. Keeps my hand in.

Quote

Celebrating the drawn line

27 Apr

A lovely blog from Michael Richards about the joys of drawing via Celebrating the drawn line

A Bit Less Slack

26 Apr

Pat 2

That’s two days running now that I’ve picked up paintbrushes and got to work on some canvas. I did some more work on the head of my subject and the flowers in the background. I am using Liquitex Heavy Body translucent / transparent acrylics, thinned with water to build up overlaid glazes. It’s been a bit more interesting today, I let myself go a bit and enjoyed making patterns in the paint and I feel a bit less slack. Not a patch on woodcutting though ;D

Very Slack

25 Apr

 

Pat 1

I generally don’t paint because it takes for ever. When is a painting ever finished? Printmaking is very much a process, it tends to be time limited so you complete an edition of prints and that’s it. That’s what I like about it. But whenever I start a painting, it just goes on and on. I started this one, a portrait of fellow artist Patti McJones about 5 years ago and finally got it out of the cupboard today to continue working on it. Maybe I’ll finish it over the next few days. I’m using Liquitex Heavy Body acrylic paint onto an unstretched canvas roll. I started by drawing in compressed charcoal and then blocked in the main areas of colour. Then I left it. For half a decade. I guess I’ve been very slack!

Problem?

24 Apr

sketchbooks.jpg

These are just a fraction of my sketchbooks. I think I may have a problem!

Precision

22 Apr

mari drop 3

Working with Andrew Baldwin at Trefeglwys Print Studio last weekend, I got in some practice doing a double drop print from my aquatint plate. It’s a very specific and precise process. After carefully printing in Vermilion and taping the print to the press bed before peeling it back, we put a heavy weight onto the etching plate to hold it exactly in place and then put a couple of Perspex squares tightly against the plate, along 2 edges, and again placed very heavy weights on them. Then the plate could be very carefully removed, cleaned and inked up in Prussian Blue.

The First Colour

21 Apr

mari drop 1

After inking up my little zinc aquatint plate with a Vermilion oil-based etching ink, I worked with etching expert, Andrew Baldwin, to print the first colour of a two-colour double-drop print. Working with utmost care, I taped the long edge nearest the roller before peeling the damp paper back from the plate. It’s imperative that nothing moves, not even by a millimetre.

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