Thursday, December 12, 2013

12 in 12




 Glass - NFS

I’ve borrowed once more from my blogging friend, Casey Klahn, a post idea of showcasing 12 images that I’ve created in 2013.  There is no order or ranking to them, they offer a representation of what I has caught my eye and interest in the last twelve months. 

I hope you enjoy them.






Dead Calm - SOLD


Turmoil - SOLD

Buoyant - SOLD

The Jumpers

Fox Point - SOLD


Capelin Scull - SOLD

Frozen Pond

Thursday, December 05, 2013

Christmas Giveaway

Sunday, December 01, 2013

Snowman relief

 
I've been busier than a one armed wallpaper hanger, as they'd say in Newfoundland.   Work, travel, commissions, workshops, house issues, you name it, its all come together in the perfect storm.  But I'm getting on top of it now and hope to spend today immersed in working on a commission to make sure its ready for Christmas.

Yesterday, I taught a palette knife workshop. They're always such fun, as people go outside their comfort zone and learn new techniques about paint application and colour theory.  After an all day workshop where I'm on my feet for most of the time, I'm pretty tired.  So I sat down in the living room, one eye on the television and the other doodling in a sketchbook and this guy appeared.  Perhaps the fact that it was snowing outside or the season is approaching fueled the inspiration, or simply the fact that I like snowmen!

Sketching is my relaxant and helps me wind down and remove other thoughts from my head.  But today its back to full steam ahead.  I'm populating the registration links for my 2014 workshops that you can find on my website and as well, my ebook, Introduction to Painting with a Palette Knife is available there and on Etsy, as well as through Payhip.  You can find the link to that on the right hand side of the blog.  And if you share the link on social media, you can get a 15% discount!  Just click the image link on the right to access it or the quick link below.


Saturday, November 23, 2013

They are back!

https://www.etsy.com/ca/shop/JobsonFineArt
 
In the early summer, I retired my small paintings as I wanted to work on larger pieces.  These mostly 5" x 7" paintings have slept in a container in my studio all summer and fall, so I thought it may be an idea to let them see the light again.

I have relaunched my Etsy shop to put a selection of small original paintings, as well as some classic seasonal reproductions and note cards available.  These small pieces make a great addition to a current collection or the starting point for a new collector.  Each original painting in the small size is $50 with free shipping until December 31, 2013.

I'll be adding more things to the Etsy shop as the month progresses, so keep checking back to see if your favourite is there.

Tuesday, November 19, 2013

Save the date!


It seems as if I've set up my universe to all come together on December 1st.  Its the day that my seasonal offerings will be available from my website, including small paintings, reproductions and cards and it is the day also that my new ebook will launched.

December 1st is when my 2014 workshop list will be posted too.  Oh, and there are commissions of people and animals and my own art production and a couple more workshops to deliver.   Sleep and socialization is a thing of the past til mid December.

But I'm not complaining, its all great fun and I enjoy it immensely.

Here's a short promo for the ebook, enjoy and subscribe to my YouTube channel to find other technique tutorial videos that may be useful to you.

Friday, November 15, 2013

E-book production



I've had my head down over a few projects in the last couple of weeks, one of which is the production of an e-book on palette knife painting.   This came from frustration on my part over the last year or two on not finding any practical resources for palette knife painting that explained the process.   As my experience in palette knife painting increased, so did my frustration at not having something or someone to compare notes with or help me over stumbling blocks.

As I've been teaching palette knife painting workshops as well, students are gasping for a resource that reinforces what they learned in the workshops and that need partially fueled my desire to go ahead with this book.

Necessity is the mother of invention it seems, so I decided that I would create the resource myself.  This ebook is a practical reference guide for painting with knives and covers everything from tools and paint to how the different strokes are created with a knife.  While not a major book (23 pages) I believe it will be a useful one in the arsenal of anyone wanting to learn more about this unique painting technique. 

Creating a resource means I can be selfish and have it the way I like to see art references presented.  Clear explanations and good images always cement the deal for me.  And price.  I want this to be as affordable as possible.  As an artist its important to me to be able to share techniques and ideas and this is one way of doing just that.

I'm currently working on the final edits for the book and then deciding which is the best way to make it available.  It should be ready to roll within the week and I'll have all the details on how to access a copy then.

Excerpt from the preface:


I created the Introduction to Palette Knife Painting as a reference guide for artists who are interested in learning  the techniques used in palette and painting knife to create impasto paintings. It contains practical information on palette knife choice and use, paint use and characteristics, techniques to achieve a variety of surface textures, lines and paint applications, as well as tips for cleaning and storing knives...


Thursday, November 14, 2013

Retail Therapy

http://www.jeanettejobson.com


Its inevitable that the Christmas season is just 6 weeks away and artists, like retail stores are getting ready for shoppers.  Artists do tend to negate the idea that they are also businesses, but its a reality, as we have to eat and pay bills just like everyone else.  Our ability to create visual art comes with the need to show it to the world, so others too can enjoy it and have something beautiful and unique to see every day.

 While I have art available on my website all year round, during this season, I try to become a problem solver for people by making a range of pieces available in several price points.  Not everyone has a huge budget to spend on original art, so there are cards, reproductions, small paintings, workshops and gift certificates available.

On December 1st, I'll be releasing the list of my 2014 art workshops as well as the launch of a seasonal gift suggestion page on my website and blog.   There'll be a few new items as well as some classics, so save the date and perhaps I can help you with your gift list this year! 

Support local artists and local business this year.  Your purchase will help keep visual artists producing beauty and your gift of local art or craft will introduce that beauty into others' lives.

Monday, November 11, 2013

Lest we forget


In memory of Canadians and Newfoundlanders who fought and died.

South African War (1899 - 1902)
First World War (1914 - 1918)
Second World War (1939 - 1945)
Korean War (1950 - 1953)
Canadian Armed Forces (1947 - present)


Thursday, November 07, 2013

Impermanance

Bright Red
18" x 24" oil

“Nothing in the world is permanent, and we’re foolish when we ask anything to last, but surely we’re still more foolish not to take delight in it while we have it.”
― W. Somerset Maugham

I pulled out an old painting that was started a few years ago and decided to revitalize it using a palette knife and some intense colours.  The colours I had, while quite saturated and intense, still didn't fit the vision in my head.  How to really make them stand out?  Fluorescent paint!

I ordered a few tubes of fluorescent oil paint from Kama Pigments and those colours...oh my, they are bright.  Of course, fluorescent paint is vivid in natural daylight which contains ultraviolet light but  under a black light the paint really become luminous.  I don't have a black light, but may get one just to understand the effect on the paint.

Unfortunately, fluorescent paint does tend to have lightfast issues.  Permanance of paint colour is rated on conditions that would represent approximately 20 years of gallery exposure.  The exact time of fading for fluorescent paint under home conditions I don't know.  But exposure to ultraviolet light can reduce the saturation of the colour, sometimes within an hour.

So why use a paint that is at risk of fading?  The colour. Nothing else has the intensity that fluorescent paints which highlight form and pull in the viewer and I love that those tropical colours and will experiment more with them soon.

The very impermanance of something can also be its appeal.

Monday, November 04, 2013

Fox Point

Fox Point
 30"x 40"
Oil on stretched canvas


I'm interested in the past and always feel a connection with what and who has gone before.

I've spent time reading about geneology and the connections to the UK on my mother's side of the family which stretch back to Dorset.  Not surprising, as so many of Newfoundland inhabitants have roots in either England or Ireland.  Going back into the 1600's was as far as I know and many of the towns in the south of England I knew from my time living there.  Some of the villages I wish I could explore more now that I know their names and the connection with relatives who came from there in the 16 and 1700s onward.

I had known little about my father's side until I started my own explorations which traced back to the 1600s again before coming to a stop - back to Germany.  The roots in Canada came direct from Germany with immigration in the 1700s.  So while surnames altered in spelling over time, the trace from then to current roots was in place and neighbouring towns, Fox Point and Hubbards Cove, about 30 minutes outside of Halifax where families stayed and established life became reality.

I visited the area, walked the shores and beaches and revelled in the fact that ancestors walked there before me.  And of course the water and boats pulled me in and this was one of my inspirations for this painting, which was painted thickly with a palette knife.  The texture for the dory and water seemed to work well for this piece.


Sunday, November 03, 2013

The end of an era

 BD
2000 - 2013

BD passed away suddenly on Saturday, probably taking him as much as me by surprise.  In the morning he was out in the garden, taking a bath, having treats, then in the afternoon, was found lying on the grass by the barn.

Just last week I took this photo of him, sitting in a pile of leaves in the garden. He was old, a bit arthritic, but loved slow explorations of the garden with Lucky, his Pekin friend.  He was the magnet in the farm yard for everyone who arrived, curious about who and what he was.



BD (short for Big Duck) was the leader of what was originally a small flock of nine Muscovy ducks that came to the farm in 2000.  He was bigger, stronger, pushier, but never mean.  Muscovies are large ducks, more the size of geese and quackless.  They hiss instead of quack and I will miss his greeting every night when I come home, crest up, tail wagging, hissing, more like a dog than a duck.  Lucky, his constant companion, will have to befriend the chickens more now and I am sure will miss BD.

 BD, on the far left, in his youth,overseeing the "girls" as they explored the car.  These ducks don't display the red facial characteristics until they're a year or two old. When they were young (under a year old) they had a habit of flying up onto cars, looking for interesting bugs to eat.    Not everyone thought it was amusing...

Perhaps its time for an updated portrait of him.  This was a small oil sketch done a few years ago.  I love that Elvis "hairdo" that he had.






Wednesday, October 30, 2013

Exhibition news



I'm looking forward to a group exhibition called Panorama at Peter Lewis Gallery at 5 Church Hill, St. John's.  With seven other artists, I'll be in fine company and would love to meet you there to see and talk about my art.

The opening reception is Friday November 1st 6:30 - 9:00pm and the exhibition runs until November 25th.


Turmoil (oil, 22" x 28") will be one of my paintings available in this exhibition.

Monday, October 28, 2013

Squeeze



As many people know, I've retired my "small works" to spend time creating larger paintings.  But occasionally a small piece slips in there and this is one of them.   Its 6" x 6" in oil on a solid panel that's quite substantial. 

I had barely painted all week outside of demo start,s and the need was there to work up my "palette knife" arm in preparation for a larger painting that is in the works.  This orange hanging in the sun fit the bill well.  There is something about orange that always appeals to me.  Just the sight of a pile of cadmium orange paint or a mixed orange makes me want to lick it!  No, no I don't.  But it does always look delicious.

This orphan small painting is looking for a good home and with that season being just around the corner, it may fit the bill for gift giving.  Adoption papers are available here.

Monday, October 21, 2013

Jekyll & Hyde

 Primary Wave
24" x 36" oil
(sorry for the poor image, better one soon)


I've been squeezing in paintings between teaching and dealing with life in general.  Boy there sure aren't enough hours in the day for me to fit in all I need to do!  But I am trying.

While there is a side of me that loves detailed paintings and drawings, there is also another side of me that equally loves creating large, more impressionistic paintings.  Palette knife painting fits in nicely by hitting my need to speed up the process and to have a looser feel to the work.

Detail from Primary Wave

In one of the workshops that I'm teaching, a demonstration was a wave.  Again, there were two versions:  one 8 x 16 that was detailed and the other 24 x 36 and full of movement, knife strokes and colour.  I'm sure there must be some psychological reason why I do this split, almost right brain/left brain or Jekyll and Hyde.  Perhaps I am cracking up after all! :)

I also bought these lovely little Italian painting knives from Utrecht, perfect for getting detail without smearing paint all over the place.  They have a lovely spring to them, I may well put a bunch of these on my Christmas list.

 Sea Memories
8" x 16" oil

So now that you've seen the wild, crazy wave, now you can see the sedate wave - Sea Memories.   Again in oil on canvas panel. Is it just me or do you have two different styles of painting?  And which do you prefer?

For me, I enjoy both, but there's something about the freedom that allows broad strokes and pulling colour out of the air (or in this case water) that takes the edge for me.  I think size has something to do with it as well.  Smaller picture planes seem to call for more carefully planned detail for me.

Jekyll and Hyde.  I may never change.




Tuesday, October 15, 2013

Country Food

 Country Food - October print

My head is all over the place lately.  I mean I know my focus in art but so many other things get thrown in the path to deal with.  But I am making progress.  One 24 x 30" piece 3/4th painted, another sketched out on a canvas and two more in sketch form waiting in the wings for decisions on size and support.

But today its the 15th of the month and you know what that means don't you??  FISHY BITS!!! :)  Yes, I am slightly crazed at this point but it too shall pass.

The October print is of an Arctic Char and called Country Food.  Northern aboriginal communities including the Inuit, were dependent on the Arctic Char for food and have used it for centuries as a staple fish.   Country food are things like arctic char, seal meat, whale, caribou etc.  Originally these foods were consumed for day to day survival.

Statistics Canada:
Country food remains an important food source for many Inuit. In 71% of Inuit households in the Arctic, at least half of the meat or fish eaten was country food.
  • Country food made up about half or more than half of the meat or fish eaten in 78% of Inuit households in Nunavik; 73% in Nunavut; 70% in the Inuvialuit region and 56% of Inuit households in Labrador.
  • Nearly half of all Inuit children in Nunavut, Nunavik and the Inuvialuit region ate wild meat five to seven days a week. In Labrador, 22% of Inuit children ate wild meat this often.
  • Inuit children in Nunavik were the most likely to eat fish and seafood on a regular basis.
You can purchase this print or any of the previous months' prints from the Fishy Bits page on my website.  All are original prints, no reproductions, printed in oil based inks on various Japanese papers.  This month its on a brilliant white Subi printmaking paper that really makes the Carbon Black ink contrast well.  The paper is 9" x 12" with a central print measuring 4" x 6".  Each print is named and signed and all prints are open editions.

Thursday, October 10, 2013

Take it!



I believe that it is an obligation of every artist to share technical information on how to create art, business information on how to manage your art and marketing information on how to sell your art with other artists.  Its how techniques are passed from one person to another and whether its in a structured environment such as art school or workshop or simply from one artist to another, that sharing process is good.  With the age of apprentices mostly past, learning from others outside a formal educational environment becomes essential.  And yes, its your responsibility as well as mine to pull those cards away from our chests and share them with the world of creatives.

“One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.”


T.S. Eliot
Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
T. S. ELIOT, The Sacred Woo

Read more at http://www.notable-quotes.com/e/eliot_t_s.html#A3a6AV18Hvd16KKS.99

“One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate, mature poets steal, bad poets deface what they take, and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn.  The bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.”

T.S. Eliot

The quote above can easily translate to artists instead of poets.  Creativity is creativity no matter what vein it takes.

I see other artists mimicking what I do or say or where I exhibit art, how I teach, even down to the same subject matter.  They take the words that I use in artist statements or in workshop brochures.  They use phrases that I use in ads, sometimes verbatim. Now taking information to learn from and taking information to make a profit from are two different things and that subject is complex and likely for another time.  Also taking ideas without permission is pretty rude too.  Often these behaviours are exhibited in people who truly don't know that its inappropriate.  Or it stems from inexperience and individuals wanting to speed up the learning process by using something that is already proven as successful.

As an art educator I see copying as a good thing.  Its what I hope people will do so as they learn, but obviously not if they profit from my personal ideas and hard work.  But didn't we all copy some one at some time?  Whether it was copying lines of the alphabet as we learned to write or sketching a master's painting in a museum, we all learned from someone else. The copying that I see as vital is technique. The copying that helps to explain and enhance skill levels and allows the copyist to understand the tools they need to spread their own creative wings can only be good. 

With a infinite number of ways of interpreting a subject, the world is still a small place and artists bump into each other creatively from time to time. What we see as the perfect subject or idea that we spend hours, days, months creating can dissolve us to tears when we see, on research, that the idea has been done.  Probably several times already.   But that shouldn't stop us.  We simply need to create the better mousetrap by building on that idea and the ideas that have gone before.  Isn't that the purpose of invention and creativity?

Yes, there can be boundaries that shouldn't be stepped on hard, but for the most part sharing should be genuine and open, given to empower others and encourage their growth.

So go ahead, take my ideas, take my words.  Use my templates, download my tutorials, copy my website design.  But on one condition.  You have to share your knowledge with others.  You cannot keep it to yourself and hope, selfishly, that by doing so, you are better than another person or have more opportunity or advantage than someone else.  You are only the better person if you help another person along on their artistic journey.  Karma rewards those who share.

And after all that, here's some of my newest sharing.  I have been creating some short videos on colour theory that I use in my workshops - the abbreviated version of the theory sessions.  This is the overview of a split primary palette that I use, using both cool and warm versions of each primary colour, plus a couple of other colours thrown in.   You can see this and others on my YouTube channel.  If you like it, let me know.  If you don't like it, still let me know. :)  If you subscribe to the channel, you'll get an email telling you when I post a new video.













Saturday, October 05, 2013

Prismatic realism

  Prism
8" x 16"  oil on panel

Doing demonstrations in art workshops is an opportunity to visually show what I talk about.  And as I'm working with artists at all levels, seeing is much more important than hearing about how something is done.  Theory, like any topic, is more easily absorbed using the see one, do one, teach one model. 
Stage 1

Prism came from a demo of a water state in my Painting Realistic Water workshop.  Wait a second I hear you say, realism with those colour in there?  Of course!   Realism comes from values, not colour.  If values indicate the changes in a surface effectively, you can use any colour you want and the piece will still "read" as what you intended to a viewer.

 Stage 2

So I'm asked how do I see these colours at the edge of the wave and on the beach?  Of course I don't have weird vision where I see brilliant colours appear.  I do see colours by close observation, but these colours do not have the saturation of what is in the painting.  My artistic license allows me to push the saturation of the muted colours I do see.  By not overloading the painting with colours that aren't in the same overall family of the water, the effect can work.  All the colours used here are found in the water and shoreline makeup in varying forms.  The saturation and single hue application is what pulls in the viewer and directs them around the painting. 

 Close up of colour and strokes

Additional Painting Realistic Water workshops will be available in 2014 and will be posted on my website, blog and Facebook page in December 2013.

Friday, October 04, 2013

Sharing Saturday



Its always good to share and on Saturday, October 5th I'm doing just that. For one day only I'm offering my Let's Do Lunch program for FREE to the first 10 people who have an art related question. It might be a technical question, about how to apply paint, draw an object, mix a colour or deal with composition or value. It could be something that's stumping you on your blog or website, such as how to add PayPal buttons or place something in a sidebar. It could be about art marketing, such as approaching a gallery for representation, or creating an artist statement.

Ask away! I will provide a written, detailed answer to your question by email. For full details about the program and how to ask your question visit the Let's Do Lunch page on my website.  



Send me your question on Saturday, October 5th and let me help you solve your art dilemma.  If you're not among the first ten questions in this promotion, I will let you know and you can still book a mini consultation.  And if you mention this post when you book your consultation,  I'll charge just $15 until October 15th, saving $4 off the regular price of $19.  (This applies only to mini consultations for single questions).

Art information is definitely worth the price of lunch.  Just ask Sue, Abby, Bruce, Rayna, Carol...  And when its free, well what are you waiting for?!   

Areas that I can assist you with
  • Technical painting and drawing techniques
  • Constructive critiques of paintings or drawings
  • Templates for artist statements, biographies and art resumes
  • Marketing your art
  • Art  blog or website analysis and  recommendations




Monday, September 30, 2013

Portrait swap - Gary Everest


Earlier in the summer, friend, portrait artist and fellow blogger, Gary Everest and I decided, at my suggest I might add...yes, me who paints fish and water, to do a portrait swap of each other.  It never was intended to be a physical swap of portraits, but like Topsy, it grew and grew.

In August I sent the portrait I painted of Gary winging its way to Honolulu to bask in the sun.  Today, Gary's portrait of me arrived to spend its life in a northern climate.  I checked the box, it didn't bring a sweater with it.  Not that it needed it today, it was 24C here today! The life in the skin tones and eyes is lovely in this portrait and really can't be seen in a photo on a computer screen.  If you're in my studio, ask to see Gary's portrait of me so you can see the colours and values for yourself.


Gary's ability at portraiture is apparent and while I didn't try to turn him into a fish, I'm sure the aquatic colouring in my portrait of him crept in there despite my best efforts. :)    Mine was loose and impressionistic, reflecting those colours and light in the Hawaiian landscape that he's lucky enough to live in.

Thanks Gary for a beautiful painting that I shall treasure. Of course, I had my hair cut since the image was sent but its me!  I'd strongly suggest that you visit Gary's blog and take some time to explore his portraits, they are beautiful and full of life.

Would I do a portrait swap again?  In a heartbeat, it was interesting, fun to push my work outside my usual comfort zone but without stress because it wasn't a paid commission.

Sunday, September 29, 2013

The Jumpers - complete

 The Jumpers
15" x 30" oil

Some early morning starts freed up painting time and let me make a concerted effort to complete this painting, The Jumpers.   Between classes and prep time, my painting time gets eaten into a  bit, so I'm finding any way I can to fit it in here and there.  Even with half an hour, its amazing just how much can be accomplished, especially if I don't let myself get sidetracked with email or Facebook, etc.

acrylic colour study   8 x 10

So here is the final image sitting in the studio waiting to see if a tweak or two is needed over the next few days before it joins its friends in the Water People series that's slowly growing.  I have a few more in this series yet to complete with sketches or colour studies done.  All I need is time!




Tuesday, September 24, 2013

Value studies


I am a lover of detail and process in some ways and have learned that the best way to avoid mistakes is to plan ahead.  One way to do this in painting is through value studies.  I know, I hear the groans as people want to jump onto the bright white canvas and slap on paint instantly.  That often leads to frustration as the canvas isn't toned, the composition not clearly thought out and the values as boring as waiting in a line of traffic, leading to endless fixes and fiddling, trying to match the vision in your head.

A hour (or three) of painting value studies really helps work out all the problems ahead of time. And often studies can go on to become detailed monochromatic paintings of beauty or small paintings in their own right.  Or in many cases, they become the map on which to base the painting that you originally had in your head.

As the study isn't precious, often being rendered on cheap canvas paper, changes can be made, colours altered and values adjusted long before you get to the point of frustration on a large canvas.  Or the value study can be done in acrylics then switch to oils for the main painting.

These are my principle elements for a value sketch, very similar to the beginning of a colour painting in fact..

1.  Forget detail -look only for shapes
2.  Squint to see overall values and to reduce colour distraction
3.  Tone your canvas with a neutral colour - raw or burnt umber work well and use the same colour to create your study. Shades of grey are a classic value study hue, but any colour will work in fact as long as you can go from dark to light using anywhere from 2 to 5 values.
4.  Sketch in your broadest shapes with your brush and pull out lighter areas with a rag while the paint is still wet. 
5.  Start with your darkest values and work your way up to the lightest.  Your values will make or break your painting so make sure your range and contrast are there.
6.  Keep sizes small, you're working out ideas, not creating masterpieces.  5 x 7 or smaller work well.
6.  Once you're happy with the result, start your colour journey!


Sunday, September 22, 2013

Studio time

 
Between teaching, writing curriculum and moving my mother into an assisted living home, I've lost a lot of painting time over the last week.  However, I was determined to fit in a few hours in the studio today and with another exhibition looming in November, I need to get some work finished.

Continuing in my Water People series I'm working on this piece called The Jumpers.  Its in oil on a 15 x 30 stretched canvas.   The interaction of adults and children with water is fascinating to watch as each approaches it differently. Children see it as a giant playground with little fear involved.  They create games with the water as these kids here are doing, jumping to avoid the incoming wave.  Adults tend to be more wary and less playful.  Obvious of course as the dangers of the ocean are known and appreciated more by adulthood.



I placed the children centrally in this but regretted it as it seemed a bit to stark, so the beach ball was added to balance the image and pull the eye around the composition.  One of the things that I talk about in my drawing and painting workshops is composition and its importance.  Balance, pattern, movement....all ensure the viewer stays in front of your image instead of moving on quickly.

How the eye tracks over a painting has been explored by several people and is quite an interesting subject that's worth artists reading.  If you know what attracts the viewer's eye, it can be another tool in your compositional arsenal when setting up a composition and palette.

This short video by James Gurney illustrated the movement of the eye over a painting.


Sunday, September 15, 2013

Father-Lasher



I've just released the September Fishy Bits! print.  This is the ninth in the series of monthly prints produced during 2013 of unique species of marine fish found in the waters around Newfoundland and Labrador.  
September's print is Father-Lasher.  This is a local name for the short horned sculpin, Myoxocephalus scorpius, so called for the fact that the male guards the eggs and defends itself by lashing out with its tail and spines. 

So many fish in the sea have been bestowed alternate names by locals based on behaviours or characteristics.  Most fishermen (or anyone one for that matter) aren't aware of scientific names of fish or even common names, so they refer to them based on sight or behaviour of the beast.  The short-horned sculpin is no different.  These sea scorpions are unique creatures, all mouth and spines but with amazing colouring for a north Atlantic fish. They tend to be half feared, half an annoyance when caught and they'll go for anything that passes in front of them.

I was daring enough to try a gyotaku print of one a few years ago without a lot of success.  With the very round and rough body, it was a challenge.  You can see the original post on that here.



You can find the September print and the others in the series on my website.  Prints are released on the 15th of the month and all are originals, no reproductions.  I used one of my favourite  Japanese papers, Kizuki Kozo, for this print, and each piece is hand titled and signed  The prints measure 4" x 6" with a generous border for framing.


Tuesday, September 10, 2013

Breakfast at Cora's


Every reflective surface appeals to the detail freak in me and ceramics are no different.  Its the play of light on hard surfaces that provides a challenge that I can't resist even if it defeats me now and then. 

While I work on demo subjects for a drawing class I came across this photo of a pile of cups.  It was taken in a local breakfast/brunch restaurant called Cora's last month.  They'd run out of the mugs they usually use and provided cups, promising mugs would be substituted shortly.  Making room on the table for plates of food and keeping baby fingers out of grab reach, we piled the cups and, while the light wasn't the greatest, I took a quick photo of it.  I was going to take another, but the waitress grabbed them away to replace them.  I don't think she quite understood why I was taking a photo of the cups.  I've given up trying to explain the things I grab shots of anymore.  It just gets too complex.

So working out the tilt of cups and ellipes and reflections took some time, a lot of measuring and alignment, but I think the drawing is there now.  The paper is in a cheap sketchbook and I would have preferred a smoother surface to work on if I wanted the drawing to be a "keeper".  But isn't that always how it works out?   No doubt DaVinci had bits of paper scattered all over his studio too, wishing he'd started it on something else.

A few tweaks here and there and its back in the sketchbook.