Flower update

I've added more layers to the flower and its starting to get a bit more definition.   The art board is a little odd and sometimes seems grainy when you lay down the paint but then dries to a smooth velvety finish which I quite like.

I can't quite get the colour on this here.  Its a richer pink in real life.  Perhaps daylight will be kinder.

Flowers

Or a single flower to be precise.

I don't paint flowers.  They've never interested me enough to do so.  I don't like receiving cut flowers either.  I'd prefer they stayed on the plant.  With a greenhouse full of flowers each year, I think I'm immune to their charms.

But occasionally I try my hand at one just to see what happens.  And so this is the beginning of a pink peony. I'm using a 16" x 20" Arches Art board and haven't used one for watercolour yet and have to say that I quite like this surface.  Its hot press, so very smooth and quite forgiving.

I have another fall back piece for drawing when this flower makes me too crazy, but I'll persevere with this for awhile and see what happens.   I know that I *can* paint flowers, but my disinterest in them pushes the appeal to the back burner which is why I rarely paint them.  Funny how we each gravitate to different subjects isn't it?

The initial stages of the painting aren't too appealing yet, but I'll work on more layers and see if it gets past the ugly duckling stage.

Coyote study

Its funny.  When I have lots of time, I can't get lots of painting done.  When I'm pressed for time, I can. Inspiration is a little low right now and I'm playing around with sketches to see what I want to do next.

Today, the face of a coyote seems to be in my head and needs to come out. I think coyotes are lovely looking animals, but I'm not keen on having them around the farm as they kill a lot of livestock. I did a sketch in pastels to get an idea of whether I wanted to pursue it or not.  I love working out ideas through studies.  I know I go on and on about it, but they are so useful and save time in the long run.  I can work out colours and composition and know some of the problems that may crop up and how to solve them before becoming frustrated with a larger piece.

I think this coyote has possibilities so I'll get a drawing done tonight.  Perhaps some black Canson paper and pastel I think, for a change.

Salmon Cove Sands

In the one fine day that my holiday seems to have attracted so far, I drove to Salmon Cove Sands to take some photos.  Its a beautiful area, wild and rugged.  The long sandy beach was completely deserted as the park wasn't open for the season yet.

The tide was far out and the breakers were large, rolling in with gulls and terns swirling overhead.  These are a couple of acrylic sketches of the scenes at the beach.  The rocks there are huge monoliths and the scene is like something from another world.  This sketch is of the nearest, smallest rock jutting out of the sand. The larger ones were like islands in their own right.

This is Salmon Cove Sands on a calmer day for the sea.

The art of drawing

I am of the school of thought that the fundamentals of drawing are essential to all areas of art, whether realism or abstraction. My training was very much dedicated to learning to draw well and to draw daily.  If my drawing was wrong, I had to start over again  and get it right.  I had to begin with basics and work slowly and steadily progressing from simple objects to complex pieces.  At the time, I didn't always want to do the work, but now I know why I had to and can reap the benefits of that training.

In some of the daily painting movement that seems to have taken over, the art of drawing has lost its place.  Society wants instant results and a common problem that I find in people I teach is that they don't want to take time to learn the fundamentals.  They want to get straight on to painting.  As a result, they struggle with the painting, adjusting and readjusting lines and shapes,  not having any structure on which to pin their paint.

Would you build a house without a plan? Start a business with no direction?  So why jump into a painting without the underpinning of a drawing?  The minimizing of drawing skills is cheating the world and artists of a skill and an art form that has been handed down for thousands of years. I have worked hard to develop my skill and continue to work hard to maintain it.  It is  the backbone of every piece of art that I produce.

This pelican drawing was done this morning in a 9 x 12 sketchbook using graphite.  Each drawing is a puzzle to solve in  shapes and should be an essential part of every artist's arsenal of tools.

The Fighter

The Fighter

8" x 16", acrylic

Tripod is a fighter in more ways than one.

First, he has a tenacious hold on life and has likely used up most of his nine lives by now through various incidents unknown to me, the most serious being loss of a front leg.  His feral ways show through from time to time and more so when he is asleep and dreaming.  He growls, hisses and spits in his sleep.  Scary, ferocious sounds that make the hair on the back of my neck go up.

As an intact male (The Other One takes it as a personal affront when I mention vet and neutering) territorial fights occur.  There are few cats around as I'm a good distance from any neighbours, but one does keep turning up and he and Tripod have disagreements.  Usually instigated by Tripod I might add.

Tripod is territorial to the nth degree, despises all other animals, especially dogs and occasionally a human who doesn't take his fancy.  I'm presuming it was something to do with his wild years in the woods.  Its extreme to the point that I would not bring another animal in the house.  A grown dog he would stalk and attack.  A puppy or kitten, I have no doubt he would kill.  So it seems he'll be an only cat.

This painting shows him at his finest after a night outside in the summer.  The sun was streaming through the window.  Tripod was exhausted and very cranky, sleeping on a throw on the sofa, wrapping himself into contortions to get comfortable.  He was sporting various superficial war wounds, his fur looked like he'd been through a bog backwards and did I mention how cranky he was?

Needless to say, I let him sleep.

The painting is 8 x 16 on canvas board in acrylic.

The art of over tweaking

I overworked this piece and its gone to mush, but that's ok.  It was more of an experiment than an important piece.  And I enjoyed the bright colours on what has been a very dull week weather-wise.  I don't dislike the piece, it just doesn't quite match the vision in my head and I know it doesn't make my own personal grade for something that I would offer up for sale to anyone.

What is it in me that keeps adding 'just a little more' and pushing a piece over the edge?  I wish that a big red light would flash and alarm bell would go off when the ultimate brush stroke went down so I'd know I'd reach the point of no return.  A bit like those top chef challenges...."ok, your time is up!  Put down your brushes and step away from your painting!'  Unfortunately, there isn't anything external that can help me decide the final point and its down to gut instinct to know when a piece is complete.

For now it will brighten up a corner of the studio and I'm off in search of new inspiration.  A trip to a glorious sandy beach earlier this week gave me lots of inspiration for more pieces.  Sand, rolling surf and rocks - heaven!

Caloplaca

I'm still looking for the right inspiration to hit me and a few ideas are flitting around.  This morning I started a watercolour piece, inspired by a photo of lichen on a large rock by a slipway in Bauline.  The rock is like many other rocks in the area.  Grayish purple, with lovely orange caloplaca lichen growing on it.  This lichen is found on rocks near the ocean, above the water line and benefit from the ocean spray to help existence.

Rocks in all forms are fascinating to draw and paint and the brightness of the lichen pushed me in a different colour direction.  I decided to intensify the colours instead of going for a more realistic palette.  Values are values, no matter what the colour and I like the brightness and the direction its going right now.  I think the local fishermen might get a little concerned if they saw a rock this colour by the slipway however.

This is the first few layers of colour and detail will start to be worked into the rock soon.  Its about 10 x 14 on 200lb Arches paper.

Inspiration drive

Water study I 

8 x 10"

I've worked out ideas for a new painting today and kept rejecting them one by one.  The one above is one of them.  Its a quick study of the beach at Conception Harbour on a very windy day.  There must have been a spill of fuel so the shoreline was sandbagged.  The image study is fine, but just won't work on the scale and size canvas that I have in mind. So this evening I went out to get inspired and took some images of what I saw.

Slipway, Pouch Cove

Lobster Pots, Bauline

The Littlest Room

Sunset, Topsail Beach

Luminous

 Luminous

24" x 30"

acrylic on gallery canvas

I'm calling this piece complete and will let it sit and percolate for awhile longer to see if any additions are required.  We can all seem to find ways to make additions to paintings can't we?  That fine line between having a painting look good and then pushing it to ruin in a few brush strokes is tenuous and often crossed.

The painting has a name now as well - Luminous.  Its quite abstract and several people who have seen it all see something different in it.  Just as art should be - open to interpretation.  I bought another, larger canvas yesterday.  24 x 48 is the longest that will fit across the seat in my little car.  I toyed with a 60" canvas then wondered where and how I would paint it as a regular easel just wouldn't cut it, I'd need to mount it on a wall to work on it. 

I've spent a lot of today clearing out my studio, cataloguing supplies and putting them in accessible places instead of scattered around the room.  I also have some plans in place to create a second studio that will allow me teaching and production spaces along with more storage racks for paintings.  The second studio will involve some major reconstruction, so it may not happen for awhile yet.  It would be good to have that extra space where I can separate tasks and do some teaching and workshops more easily from home.

Memory painting

Heavy rain and strange dreams woke me at 5am so I found myself in the studio early again.  I wasn't awake enough to concentrate on the final lines of reflected light on my current painting, so I played around with a little painting from memory.

Memory is a tricky thing depending on what you're painting.  If it is something that needs accuracy, such as a portrait, its extremely difficult to rely on memory to produce detail.  For something that isn't as bound to detail such as landscapes or seascapes, there's more leeway.

I worked on a brooding image of sky and sea and just played around with it til it looked right to me.  There's still lots of room for layers and it may be fun to do a large piece that is similar with more dramatic lighting, but for now this is it.

 Its painted in acrylic and is 5" x 7" on canvas panel.   I need to access some masonite panels or smoother surface for the glazing, scumbling technique that I've used on this piece.  While I don't really mind the texture of the canvas showing through, I'd like to see what a smooth surface provides for the same process.

Sketches

I'm a bit between paintings right now with not a lot to show.  Work has been crazy in the lead up to me taking a couple of weeks off.  At this point I'm looking forward to having some time to myself and catch up a little on all those things I want to do but never have time to.

Each day I take time to sketch, something,, anything and today was no different.  I was up early and did a sketch in coloured pen of a koi.  I didn't have time to complete it, as other morning tasks took over.

This evening I did a quick sketch in graphite of an image from the Weekend Drawing event on Wetcanvas.  I don't go there often but sometimes check in when I'm looking for inspiration for something or someone to draw.  This image is of a young girl dressed up for some sort of fair.  I find it a little disturbing having young children dressed almost as adults.  I'm sure its simply dress up in this case, but I'm old fashioned and like kids to have childhoods, safe and secure. There is plenty of time to grow up when mind and body are in sync.

World Oceans Day

 Yamabuki

acrylic on gallery canvas  6" x 12"
This painting is available on my website

June 8, 2011 is World Oceans Day.  On World Oceans Day people around the planet celebrate and honor the body of water which links us all, for what it provides humans and what it represents.

With my work over the last 18 months related to fish and water, the ocean is an important part of my life.  I live near it; it provides inspiration and food.  I have a healthy respect for the ocean and know how easily the balance of life in it can be tipped by humans and their activities.

We take the oceans for granted, but imagine for a moment life without them.  They would become vast empty deserts devoid of life.  No tides, no watery roads to other parts of the world, no food source, no enjoyment of movement and sound.

Protect your ocean and the creatures that live in it.  Your life and theirs depend on it.

And now the Yamabuki  study is complete.  I hope this little fish gives the hope of wealth and prosperity to everyone who sees it.  Wealth is not measured by how much money or possessions you have.  Wealth is measured by how you treat others and yourself.

Yamabuki

When I get an idea, I often have to put it down on paper so it doesn't disappear.  I've had this image of a solitary goldfish in my head for days and left the sea of blue that I was working on to do the start of a little study in preparation for a large piece to come.

The term nishikigoi in Japanese means "colored carp" and refers to the magical realm of koi fish. The Japanese invest symbolism in many animals and especially koi carp, the common goldfish being the domestic version of carp. Yamabuki: The gold fish represents gold, wealth and prosperity.

This is on 6 x 12 gallery canvas in acrylics.  Its just the bones of it right now but will have more form and depth over the next few days and I'll see what comes of it.

Glazes and lines

 

A few more glazes of blues.  A few more tracery lines of reflection and its starting to come together.

The ease of going larger fuels a need to go even larger.  To search for a new canvas tomorrow I think...and a name for this piece too.

Going bigger

Here's an update on the caustic reflections painting that I started.  I've spent more hours glazing, and making a start on the reflected lights dancing across the hull of the boat.  Its quite an abstract piece at this point and may still look like that in its finished state considering the intimate viewpoint, but the subject is the reflected light from the water onto the hull of a moored boat.

Working on a larger painting makes me shift my thinking as well as the practical aspects of painting.  Working on a bigger canvas (24 x 30") involves increasing size on everything from palette to brushes.  24 x 30 may not seem large, but its larger than my usual size.

I've commandeered an 18" x 24" aluminum tray as my palette.  Other general palettes are too small to allow for mixing the paint and accomodating the larger brush sizes.   I did first look for a sheet of glass in the barn, but couldn't find something that was suitable so figured this would work.  And as it is acrylic paint, it can be scraped down afterwards - not that the tray will be food grade ever again.

I'm a detail freak, so smaller brushes are those that I am most comfortable with.  But for a larger painting, I've moved up to 2" and 4" brushes, with some smaller flats for edging and my favourite 1" scrubby for blending some areas.  Small foam rollers also can work well for laying down colour on large areas and give interesting texture too.

The amount of paint that is required for a larger piece is noticeable as well as the amount of medium that I use to keep the acrylics flowing for longer. All techniques remain the same, its simply a matter of large sizing tools.

Except for smaller details, I need to stand to paint on a larger piece and with hours of glazing, arm muscles get tired.  It may be back to the free weights for me if I want to continue with larger pieces!

Drawing Day 2011

I knew today was Drawing Day and I did want to make some time to create something.  The day was very busy so it wasn't until late this afternoon before I could.

This is a pen and ink piece of a small river close by, done with Kohinoor Nexus Studio pens in a Daler Rowney recycled sketchbook.  I was out on several errands and again to take some photos and decided to stop along the way to make time for this.

One of my stops, as usual, was Middle Cove beach and after wandering the beach for awhile I spotted this harp seal basking on an outcrop of rock near the shoreline.  The seal blends so well with the kelp and rock I hadn't noticed it at first.  Aside from raising its head now and then to check for intruders, it enjoyed its land nap in the warm sunshine.  Click the image to see the larger version.

Caustic reflections

At last back in the studio and trying to take up where I left off on a painting I had started about 10 days ago.  Its easy to get out of the discipline of daily drawing and painting and it can easily be the death of an artist.  I did sketch while I was away, but its not the same as getting my teeth into something more substantial.  Of course then, faced with the 'something more substantial' its a bit of a challenge to wrap my mind around it, but here I am again, brush in hand figuring out where to go next.

The concept for this painting is the hull of a boat with the reflected light from the water.  These lines of light are called caustic reflections ,which are reflected light from the undulating surface of water.  The multiple movements of the water surface breaks the reflections into the lines commonly seen on boat hulls or docks.  The same reflections occur with many reflections in shallow water and on metal surfaces.

This painting is in acrylic on a 30 x 40 gallery canvas.  I'm working on getting the canvas covered in first layers and putting loose values and placement of shapes right now. It looks more like a landscape at this stage I think and I am always a bit hesitant about posting such an early stage of the painting.  Its so different from the vision in my head but all part of the process.  Lots to do on it yet and hopefully some time this weekend to make progress.

Interactive art

 

One of my treats while away was to spend some time with my daughter and grand daughter.  She's four now and its interesting to see how children explore the world and how interactive everything is.  It reminded me of how much of that we lose as adults and how much we need to strive to keep that as artists.

These thoughts formed as I watched her interact with the world and the pleasure she got from art both 2D and 3D.

• Take time to see what is in front of you.  Up close.
• Don't be afraid to touch something, climb on it, taste it.
• Embrace colour
• Concentrate
• Go outside the lines
• Little details count
• Pancakes have potential for sculpture

Now that I'm home again and getting back on track, I'll revisit what's in the studio and should have a sneak preview of a new painting tomorrow or the next day.

A blogging break

I'm having a short break from blogging, about a week, as I'm doing some travelling.  Although I always have good intentions when I'm away, time usually wins in the end and I can't fit in all that I want.

I'll be doing some sketching as and when I can and am currently looking at clouds covering the peaks of the Rocky Mountains as I write this. Inspiration is always around me from vast landscapes like this to intimate studies of small objects so you never know what I'll post when I return.

Overflow complete

 Overflow

10 x 10  acrylic

I've finished this smaller painting, trying to make the smooth surface and the flow blend together. Painting water is always interesting and I often need to see the source before I can complete it.  It was no different today.   I went out to a lake to study water this afternoon so I could commit to memory its movement and surface.  I needed that reinforcement of reality before I could complete the final touches to this piece.

Water, like any other object can be simply broken down into darks and lights, but familiarity with the subject helps a lot, especially when working from several sources, photos, life and memory.  That intimate knowledge of a subject and the time spent drawing and painting it over and over and over is required before ever trying to commit a memory effectively into a painting.  

Out of My Depth

 Out of My Depth

monoprint 8 x 12

I'm working out ideas for a collograph print and while doing so, remembered a little print that I did last year.  Not a collograph, but a basic relief print which was impressed into foam then printed on BK Rives paper. 

I had dampened the paper prior to printing and didn't blot it enough so there are splotches on the surface, but I rather like the look of them.  I added some colour to the print, just playing around and this was the result.

 original print

I'll work out more ideas for the collograph in my head and on paper over the next day or two and hopefully have something to show for my efforts.

Overflow

This is a few hours into a new water painting.  The smooth water is drawn downstream to pour over a stone ledge, forming a small waterfall.  

The values of the water as it moves can be created through reference photos, but being able to study the water in real life is the only way of becoming very familiar with its movement.  Repetitive motion remains the same but the changes of light on the surface can bring very different results.

Here, the brown, boggy bottom turns the water to tea in shadows and to rich blues where it reflects the sky.  On a cloudy day the colours would be silvers and greys.

This is a 10 x 10 painting in acrylics.  I'll add more detail and depth over the next few days to try to get that smooth surface that moves into rougher texture.

Trees for Life Charity Fundraiser

 The Gatekeeper

6" x 9"  mixed media

Update:  This piece is now on the Trees for Life Fundraiser website and available for sale.   You can see it and other pieces of art as they are posted on the TFL site.

The United Nations General Assembly declared 2011 as the International Year of Forests to raise awareness on sustainable management, conservation and sustainable development of all types of forests.


I am pleased to take part in the Trees for Life charity fundraising exhibition which will take place in Edinburgh, Scotland.  The exhibition will open 1-13 November at Out of the Blue.  The opening will be on November 3rd. The initiative is spearheaded by Trevor Jones, a Canadian, living in Edinburgh. 

Twitter to the rescue!

Through the phenomenon of Twitter I want to track down 140 generous artists who will each create a 6x9 inch (16 x 23 cm) artwork inspired by the forests or some element of the natural environment where they live. I will be organising a two week exhibition and sale of all the artwork in November in the wonderful space at Out of the Blue art complex in Edinburgh, Scotland.

All money raised from this project will go to the worthy cause of restoring the Caledonian Forest supported by the charity Trees for Life. Each postcard will sell for £40 and, along with donations and opening night fundraising, we’re aiming to raise £10 000!

One of the many goals of Trees for Life in 2011 is to plant its one millionth tree! The money raised from this event will help the charity achieve this while laying the foundations for its ultimate vision of restoring a ‘wild forest, which is there for its own sake, as a home for wildlife and to fulfil the ecological functions necessary for the wellbeing of the land itself.’

A special online gallery will be set up to view and purchase the artwork. Links to each artist’s website will be attached to their work.

After a bit more tweaking, I will be shipping this painting to Scotland within the next few days.  Some of you may recognize the tree from a previous post done a couple of years ago of an old decaying larch tree on the edge of the woods in my garden.  The tree has lost limbs and bark, its fissures and rough bark show its age.  I think of it as the Gatekeeper to the thick forest behind it, old and gnarled but hanging on til the younger ones are strong enough to take over.

True to the theme of nature and trees for the exhibition, I wanted to go with as natural materials as I could. I used a piece of TerraSkin for the base, a treeless support made of ground stone. On this I added a layer of gesso, then Japanese mulberry paper that I tore for texture, with more gesso over those.  I added washes of watercolour that brought out the texture of the tree and background and used ink for definition and texture in the grasses.

Questions, questions, questions

 Pink and white - not your average boy

Some days it feels like such a farce, this art stuff.  I go to my studio and produce a mess that I try to turn to gold without success.  And it makes me second guess myself and the purpose of the materials around me and why I'm doing this or trying to do this.

Then there is the pretention of the art world.  Not the artists usually, but those who feed off their efforts.  The galleries, framers, dealers, critics and exhibition organizers are the vultures waiting to pick the bones of artists.  Artists are like farmers.  They bust a gut to produce a product, whether potatoes or paintings and the merchants become rich off the proceeds.

Then there is the uninformed buying public who think there's no difference between a mass produced reproduction from Walmart and an original painting and want the same for $19.99.  Framed. Or commission  a complex piece with all their relatives and animals, make endless changes and haggle over price as if its a pound of sausages at the butcher's.

There are also the artists who consider that they are superior because they can afford a particular brand of paint or brush or slavishly use the brand and palette of an artist they admire, as if by owning or using it, it gives them magical powers of mastery over that medium.  Or the slightly mocking, patronizing tones of those who can only produce a painting from life instead of reference photos or who use oils instead of watercolour  because the masters did or use watercolour instead of graphite because the latest workshop guru told them to or who could never use a grid or projector...it goes on and on ad nauseum.

What has happened to art and those that artists choose or must choose to interact with, ply their trade?  When did it become big business and so cut throat? When did artists begin to hold technique so close to their chest and not share in case someone might learn how to do the same thing?  Did they forget how they learned?  Wasn't it from someone else?  When did artists start counting statistics of how many people visit their blog or website instead of concentrating on simply producing beautiful art?

I don't expect answers to these questions.  They are what rattles around in my head sometimes when I think about the often futile and fickle world of art production and sales.

Ok, rant over.  You can come out from behind the sofa now.  Its safe.

Free Advertising

Well, nearly. I  did have to purchase the signs, but after that tiny investment, every exposure of the words to the passing public is free.

I'm always searching for new avenues for marketing my art and had considered mobile signs for awhile.  These are magnetic images applied simply and quickly to your vehicle, weather resistant and easily removed without any damage to the car surface.

How many signs to do you 'read' when you're on the road.  Billboards, store signs, bus and truck signs all bring messages that we absorb, sometimes even without knowing that we see them.  My drive to and from work is about 20-30 minutes each day which gives me an hour of exposure to thousands of vehicles and pedestrians.  Another cross town trip a few times a week and I have exposure to a different section of the public.  The costs for the same exposure commercially would be enormous and never within my budget.

So I'm giving these signs a trial to see if they generate any additional interest or visibility.  There's one on either door of my car. (I put one on the back of The Other One's truck, but don't tell ok?) :)  Its an inexpensive way to get my name in front of the eyes of the public.  Who knows who will pass by and see it?

Marketing is a huge part of art.  If you make it, they won't come and see it unless you tell them about it. So get out of the studio and start spreading the word about your art!

Vertigo update

Vertigo

oils

I'm determined to finish some paintings that got put to one side, ostensibly for drying, but then life took over.

This piece of a Northern gannet was one of them.  I'm working on the water and its getting to where I want it to be, but there are  number of glazes to bring it to completion yet.  I quite enjoy glazing and its so effective in building colour, but a slow process, having to let each layer dry before adding another.  I'm also working on the wings of the bird to define feathers - not something I really enjoy, but one at a time and I'll get it done.

Aligning the planets

I've had a week of being ill, nightly insomnia and a house guest.  As a result, art has taken a back seat.  I always feel more out of sorts when I can't make progress in the studio.

I've browsed and read and planned and sketched but didn't get too far.   Tonight I'm working on the water in a previous painting Vertigo to finish off that painting while another previously abandoned piece waits in the wings to be revitalized.

Its interesting how, at least for me, everything physically must be in sync for paint or pencil to create its magic.  If just one thing is off kilter, it throws everything else.  I'm also at a bit of a crossroad.  So much is happening with me in art in terms of opportunity and commitment I wonder just how much I can fit in or what needs to change to accommodate it more easily.  Even with insomnia, there are still only so many hours in the day.

So I'll leave you with a sketch.  If all else fails, sketches still work. They don't demand the same level of planning or commitment as a full drawing does and allow me to skill practice, even if only on a small, brief scale.

Fragments of the galaxy

I am more of a representational artist rather than abstract, but occasionally fragments of colour or light happen that please me and they are usually arrived at quite unintentionally as it is with this piece.

This is a small (8 x 8) gallery canvas that I originally earmarked for experimentation with gyotaku printing.  I had layered the canvas with different shaped pieces of various Japanese papers, some showing through in colour or texture.  The resulting surface was the support for a print that never really happened.

Late last night I found a piece of textured paper, very thin, with spirals covering it, held together with threads of fabric/paper, almost like a lace doily.  I put a piece of this over the canvas then randomly chose a colour to apply.  My hand pulled out a perlescent liquid acrylic called 'galactic blue'.  A bit wild but what the heck, it was an experiment.  I poured it over the textured paper and brushed it on pressing it well into the gaps, rather like a stencil.  When I pulled it off, it had the desired effect of leaving the papered canvas with fragmented shapes of the spirals.

Early this morning (my wish for surviving on less sleep seems to be coming true) I studied it again and decided to slap on a series of fairly complementary gold, orange, yellow and red to fill the empty fragments and spill over onto the acrylic ink surface.

Its a unique piece that is almost impossible to photograph because it changes in colour completely depending on the lighting, going from intense blues to rich purples and greens.  It  may be worth experimenting with it on a larger scale with different acrylics and textures to see what will happen.

Roller

I've had a bit of a fallow period this week as I've been so busy with other things.  And it may be a few more days before I get back into production mode again, although I have several ideas brewing that I'm working out on paper now.

I've been sick with some sort of bug over the last couple of days and of course creativity flies out the window for me then.  As well my sister is visiting for a few days too.  When other aspects of life kick in, it makes me realize how much time I need to devote to production just to stay on top of it.

This is an oil sketch of a wave rolling in, done on 8 x 8" gallery canvas.  I was using up the paints on the palette from my previous painting .  I can't stand throwing out perfectly good paint and often use the palette leftovers and 'mud' to work out ideas or put down the base of another painting.  I don't think I'm the only person who does this, perhaps some of the purists just don't admit it. :)

Final Limpid and exhibition

I'm calling this piece done for now.  The foam may get a few more tweaks in days to come, but other than that it will sit and dry and wait to be framed.

A previous painting of a wave, called Landwash, has been accepted into a juried group exhibition at the Newfoundland and Labrador Craft Council.  The exhibition is called Blue and runs from May 7th to June 12th.  The opening is 2 - 4pm on Saturday, May 7th, at the Annex Gallery, Devon House on Duckworth Street.

Calm, sad, delicious and profound – the many unique characteristics of water inspire this group show.

Water sustains life and takes it away. Occupying 73 percent of the Earth, water is still unavailable in a drinkable form to one-fifth of the population. The range of water's colour, its reflective qualities and other characteristics unite and inspire the diverse work in this show. Come and see how craft and art mix with the ecology and politics of water.

  I have another couple of projects on the horizon but am keeping them under my hat for the moment.  More on them after the weekend I hope.  And now onto another painting!

Red Snapper

I'm having a small break from the water tonight and am finishing a couple of gyotaku prints.  This lovely red snapper turned up last week and the defined scales and gill covers make a good candidate for printing.

The fish measures 17" nose to tail and its printed on 18" x 25" okawara paper using Caligo ink.  I added the eye using watercolours and he's ready to go once mounted.

I took another couple of prints from the same inking left on the fish using lightweight art tissue.  I love the delicacy of tissue but it tears so easily its a bit frustrating to use.  This is the print directly off the fish without the eye added.

Limpid - the end is in sight

I'm working towards the finish of this painting, adding details that bring it to life.

I love this stage of a painting.  Well mostly.  There are some sections that I have to talk myself into completing simply because they are repetitive and a bit tedious, such as picking out subtle values on the water surface and darker shading of tiny waves and ripples.  Patience and the ability to let my mind concentrate only  on the particular section that I am working on at the time help.

A few more hours of detail work and I'm hoping to call it complete then move onto the next piece.  There are a few ideas in my head, but I haven't made a firm decision on what's going to be on the easel next.