Number 3

This is the beginning of the third painting this year with a concentration on water.  This time a gannet in flight, soaring over the ocean.  This image was generously supplied by Avenue, through Wikipedia Commons.

Northern Gannets are found in Newfoundland and at Cape St. Mary's Ecological Reserve is one of the largest nesting colonies of gannets in the world.  If you don't mind cliffs, the view is amazing and you'll find gannets in their thousands who return to the same nest here each year.

I've pulled out my oils for this and had forgotten how lovely they are to use after fighting with acrylics for the last few paintings.  This is on 18 x 24 gallery canvas.  I had done an initial sketch for the piece to get a feel for it, then drew straight onto the canvas with thinned burnt umber and now am starting to block in shapes. I will build it from there with thin layers of paint.  I'm using just turps or Liquin for the paint when needed, but mostly applying it straight from the tube once the initial layers are down.

Its not much to look at yet, but I'm hoping it will start coming together over the next few days.

www.jeanettejobson.com

Landwash

12 x 36, acrylic

This is the completed piece that I've been working on for a couple of weeks.  I've added some glazes of colour in areas of water and foreground to bring interest to what is a rather monotone surface otherwise.  This will sit for a few days before any final adjustments, then its time to move on to the next water piece.

I've toyed with the idea of a website for several years and now have taken the plunge and added it to my marketing repetoire.  Its taken a number of hours to add content, links, etc., but I've published it knowing there is still some tweaking to do.  Websites are a work in progress and this one still has some areas for completion. The main changes that you'll see through the interconnection between blog and website are:

• I have moved larger paintings to my website and smaller ones will remain here on my blog.   
• I have provided free drawing tutorials for download on the website, which were previously available for purchase on the blog.
• Purchasing of major pieces is available on the blog, but I do not have a dedicated storefront there.  It is something I am considering.  For now, Buy Now buttons are being used that direct users to PayPal.
• another email for contacting me is available info @ jeanettejobson dot com

I'd love to hear your comments and suggestions on the site.  You can find it at:

www.jeanettejobson.com

Rescheduling

I've pushed the date for my Gyotaku workshop ahead to April 16th.  The registrations weren't high enough to warrant me delivering it on March 19th and I have a minimum number that I need to make it functional.

Workshops, money, apathy, timing, everything plays a role in workshops meeting the needs of everyone.  I know that gyotaku is a specialized and yes, kind of strange, form of art that may not appeal to everyone.  But often exploring the unknown leads to amazing things.  It has for me.

You can register for the Gyotaku workshop on the Workshop page of this blog.

Of course by moving the date, I now have to re-market it in terms of visuals and media work.  So between that, the new website, finishing some gyotaku, painting, and hectic day job I'll be busy for awhile!

This morning and while watching the news I knocked off these two sketches, about 10 minutes each.  There seems to be a chicken theme going on here with this post and the last.  Perhaps because I'm considering getting some more laying hens this spring.  If I could just figure out how to keep the mink out of the barn, the decision would be easier.

Like a chicken...

Its just what I feel like this week.  Racing around like a chicken....well you know the rest.
This week has gotten away with me with deadlines and pressures from all sides.  As a result the blog and art has taken a backseat except for little doodles here and there that haven't amounted to much.  I hate it when that happens because it adds to the stress even more when I can't paint or draw.

I've bitten the bullet and am working on setting up a website.  I've resisted this for quite some time as the blog fulfills a lot of the online function that I need.  However, as things move ahead for me, the need for a static online presence seems to be a required function.  This, as many who have already done so know, takes time to develop and populate with text, images and links.

There will be some changes to the blog as a reflection of the website, but they should interlink well. The biggest change will be the placement of more important pieces of art on the website and the smaller pieces will remain on my blog and/or Etsy. I hope to have the site  up and running within the week and you can let me know what you think.

Portrait winner chosen

I've made the drawing for the winner of an original portrait using a random number generator from 209 entries.  These were from names of subscribers to my newsletter, my artist page on Facebook and from direct emails responding to why they would like a portrait. The winning number was 192 and I will contact the winner by email.  The winner's name will be announced in my March newsletter. Thanks to everyone who participated!

This little jug was a study piece completed for the Daily Paintworks Challenge to help concentrate on values. The piece can be purchased here.

Landwash Update 4

A wintry weekend has given me the bonus of more time to spend on this painting and its moving along more quickly than I anticipated.  I've worked more on adding definition to the piece within the wave, reflected light on the water surface and by adding more layers to the sand in the foreground.  Its at a point where the work is a bit repetitious and can be monotonous to a degree.  The water surface reflections are like a puzzle, but perfect placement isn't a requirement so I have a bit of leaway in that. 

Tonight I'm having a little break from water and working on some other things.  Its good to have a couple of pieces in progress at the same time as it gives me a chance to go back again with fresh eyes every day or two.

People have asked how I achieve this effect with acrylics.  Acrylics aren't a medium I was ever very comfortable using or pleased with the results, but I've played around with them more frequently over the last couple of months and there are elements I like and dislike about them.  I may be doing the next piece in oils which will have similar techniques to my current use of acrylics.

For acrylics I sometimes use a slow dry blending medium in passages of the piece that give me more time to blend the values.  However, often I simply use a series of thin glazes of paint using just water as the medium.  I use a 'scrubby' or old short bristle brush to work a layer of paint and immediately top it with another value, blending the edges.  I find this gives me the best control over the paint and not leave hard edges.   To the viewer, acrylics or oil use in a finished piece, would be very difficult to differentiate from.  As with many different mediums, there are certain mindsets that reject one over the other or deem a finished piece as more or else valuable.  This, to me, is part of the art world that I do not like and smacks of some individuals wanting to feel more superior in a claim that one medium is 'better' than another.  To me, its in the final product.  I don't care what the medium is.

Landwash update 3

I've spent more time building the wave structure and colour, along with developing the base for the water surface values.  Water surfaces are very complex and it takes concentration and time to get them to look as they should.  The good thing is that there is no precision as with a portrait, so it becomes freeforming shapes and lines instead of defined lines.

I've also begun to add some spatters of paint to give texture to the sand/gravel of the shoreline.  This shore is usually covered with smooth stones, but the surf had pulled them clear down to the sand line.  The sand here isn't the classic pale golden sand, but a mix of ochre sand and fine gravel.  I'm adding dark spatters to it with raw umber, violet and burnt sienna before adding lighter colours as highlights.

I'm working on the wave itself to build form and colour.  It too is complex and while it has specific shapes, it is organic and allows me some freedom.  Getting the light that shows through the highest points of the waves still isn't quite there, but I'm heading in the right direction.

Landwash update

 
I've blocked in more of the wave so it stretches across the canvas now, but there's still a lot of work to do yet.  I've been putting down the base colour for the ocean behind the wave and the wash in front then working darker details into those.

The sand/fine gravel is in place and will be defined using a spatter technique.  I hate this stage of a painting because nothing looks as it should, but it will start coming together, given time.

Landwash WIP

I've put the bones into place for a new water piece called Landwash.

This is done from life studies and images taken at Middle Cove, watching sedate waves washing ashore instead of the usual wild Atlantic breakers.  The bright sun on the crest of the wave makes the piece look as if its made of glass or ice - water frozen in time.

There's a lot of water to block in with fairly neutral blue greys, then comes the fun of creating the water surface.  This could take awhile...

The piece is 12 x 36" and in acrylics.

Zippo II

So good I drew it twice.  And perhaps will a third time too.

I love trying my hand at reflections and after last nights efforts I wanted to try the same image in different media.  This is drawn with coloured charcoal, Ocean Blue, and white pastel pencil.  These are similar to the original limited palette of ultramarine, burnt sienna and titanium white.  I have a small set of coloured charcoal pencils which I haven't used them a lot.  The colours are very subtle which does have an appeal and I should explore with them more.

This piece is on 8 x 10 brown paper sketchbook that is one of my favourites to draw in.  The manila coloured paper works so well for so many things, acting as the mid-range value.

Zippo

 Zippo

5 x 7

acrylics

Michael Naples is the host of this week's Daily Paintworks Challenge and his reference of a shiny Zippo lighter is proving popular.  This is my version of it in acrylics.  The challenge is the use of a limited palette of ultramarine blue, burnt sienna and titanium white.  Go on, have a try, you'll be amazed at the range of colours a limited palette provides.

This piece is available for purchase here.

Beach babe

 
This image by Valri Ary appealed to me.  The plump baby was experiencing her first ocean waves with delight.  I wish we could all have those 'first time' experiences again.

I recycled a 10 x 10 canvas for this, undercoated it quickly with some orange acrylic that was leftover on a palette, then sketched in a line drawing in charcoal.

 I blocked in some background and a few highlights, still using acrylics.

Then I laid in colours for the body

Then finally on to picking out some detail and refining the piece a bit more.  All in, about 2 hours work and a great painting exercise.

The art of judgement and the judgement of art

 Sterling Fellows

charcoal and white pastel

19" x 25"

I won't belabour the point as I've had my rant over on Facebook about the vaguaries of criteria for acceptance and rejection of art in juried competition.  This piece was submitted and rejected to a juried competition.  That's fine.  No problem.  My ticked box on the application form asked for adjudicator comments, in my hope that I would receive something that would help me in the future if the piece was rejected. The note that was sent with my rejection letter told me that  I can draw well, create great atmosphere, but I need to add colour and broaden my composition.

Hello...there was no colour because that was the purpose of the piece.  NO COLOUR.  So the feedback is basically telling me, yes, you can draw well and create a scene, but we'd really prefer you made it in colour and choose a different composition.  ie  it would have been better if I hadn't done it at all or done it to someone else's criteria.  I was asked for and included an artist statement.  I guess they never read that  as it may have given a little insight into my work and its theme of fish.   These comments weren't telling me why the piece was rejected, or how I could improve it technically.  I see these as comments from a group/individuals personal preferences in art and how they would prefer to see the piece if they had created it.

So I'm left shaking my head and mentally ensuring that I don't enter that competition again.  I should have learned after the rules were changed the other year where a piece must be hidden from the world before being entered.

I don't mind having work rejected, in fact I expect it, as not all work suits all exhibitions and my piscean creations aren't everyone's cup of tea, nor is representational art.  My problem is with the criteria, or what seems to be lack of, in both the ability of judges to choose work objectively and to respond, if required, with comments that can assist an artist to grow.   I'm likely flogging a dead horse to rail at it from time to time, but I will continue to do so.

________________________________________

Now on to a lighter note...if you subscribe to my newsletter, you will know that I am having a contest until the end of February with a prize of an original portrait.  However, I thought I'd share it here as well.  Details of how to take part are below.

This contest gives you a chance to win an 8 x 10 original portrait. The portrait can be of you, a friend or family member or a pet.  I will choose the medium and the winning name will be drawn on March 1st.

The pieces shown here are drawn in charcoal. Your portrait may be in charcoal, graphite, or coloured pencil.  Perhaps painted.  Its all part of the surprise... 

There are several ways to win.

1. I will have a contest post on my Facebook page. Join my Facebook page 

(you need to click 'Like') and let me know why you want to win a portrait. 

2.  Become a subscriber to my newsletter.  Current subscribers  and those added up until February 28 will be included in the draw. You can join in the link on the sidebar to the right here.

3.  Send me an email  between February 15 and 28 and tell me why you would like a portrait and of who. 

The winner's name will be announced in the March newsletter.

Good luck!

Medusa

 

 Medusa

16 x 20

coloured pencil 

Medusa is complete, even if I can't get a great photo of it.  The combination of coloured pencil and a black surface make for technical difficulties, even with PS editing.  I'll keep working on it, but you get the general idea of it.

The tinkering part of me wonders if I should add some specks of detritus floating in the water as there tends to be particles in deeper water instead of being crystal clear.  The sensible part of me slaps my hand away and says leave it alone.  And I will let it sit for a few days and see if anything rears its head when I next see it.

I used an online framing program MatoMatic, to test some frame and mat colours.  I like to have some idea of what I want before going to a framing shop and this program allows me to try out different ideas at no cost.  It also gives art collectors an opportunity to see how a piece will look when framed, when making a decision to purchase online.

I'm taking a short break from the blog to catch up on my final gyotaku pieces and work on some marketing and planning for the workshop.

River stones

I've had an idea for a painting in my head for quite some time and have been playing around with different mediums to see what will work best for it.

The reflections of light on stones in shallow, flowing water is what I want to reproduce.  The distortions of the shapes caused by the moving water and the lines of reflected sunlight across the stones is challenging and takes time to produce.  I don't anticipate this to be a quick piece.

I tried a study in acrylics and that just didn't work for me and today I reverted to watercolours which seems to give the effect that I'm looking for in the stones.  Subtle colours and granulating pigments work well to create the texture of the river stones.  I'll be using a lot of masking fluid to create the lines of light I think.  Masking seems preferable to using gouache for these lines, as the final result should be transparent and natural.

I'm still not sure of the final size for this.  Not a huge piece I don't think as the detail might just become too tedious.  Then again, size matters, so going large and going crazy may be in my future.

Valentine puzzle

 
I'm not a fan of Valentine's Day.  I think there's more consumerism than love in it, but I don't deny those who enjoy the event.   However, I'm going to make you work for your Valentine treat here tonight.

I took a photo on a beach that seems appropriate for the day and created a puzzle out of it. Once you complete the jigsaw puzzle you will see the image.  I'm in the process of starting a new painting but have nothing share quite yet, as its in the very ugly stage. Soon.

I tried to add the puzzle to this post, but its a bit too wide, so I'll simply add the link and let you solve the puzzle.  You cannot rotate pieces and each correct matching piece will lock against its mate when found.

Valentine Jigsaw Puzzle

Rennies Mill River in summer

 Rennies Mill River in summer

7 x 9

acrylic

Part of the pact with myself for 2011 is to create a body of work with water as the subject.  I have no deadline hanging over me to do this and have completed one piece.  This is a small second piece where I was was working out water movement and colours.  I have a larger painting planned for another piece, not the same subject, being drawn up today.

The surface of water with all its reflections and movement is a challenge to capture.  A combination of real life studies and photographs make it easier and living close to many water sources, its just a short walk or trip to find myself very close to my subject.

On this cold snowy winter day, I need a touch of summer that looking into this water provides.

Duck retirement home

BD, the Muscovy duck is in his old age now and living life well in the barn, with his relatively new friend, Lucky, the Pekin duck.

They've both seen their fair share of problems in their lifetimes and stick together like glue.  Lucky, so named because he survived attacks by mink, fox and an owl, loved to explore outside, but BD is very slow and arthritic and doesn't like to stray far from the barn door.  Lucky patiently waits by his side, never wandering off more than a few feet.

BD is old in duck years - into his 10th year now, even though it seems some ducks can live til they're 20.  I hope he does live that long and more.  Even though he's just a duck, he's my favourite guy.  I mean, who could resist those pale blue eyes?

Jelly update

 Medusa - WIP

16 x 20"  coloured pencil

This week has been crazy busy for me both at work and with art.  I haven't had a lot of time to create, but I've been fitting in my daily drawings - more likes sketches most days, and have had a few minutes to add some more layers to the jellyfish.

To cover the scratch on the board, I've started to add another jellyfish in the distance.  No one else can see to see the scratch besides me and it is really only apparent in certain light.  But I *can* see it and it will prey on my mind constantly unless a fix was found.  Hence, the distant jelly.

An interested fact about jellyfish and one I didn't know is that the adult jelly is called a medusa.  This is provided the perfect name for this piece and what better a name for a jellyfish with those long floaty tendrils.  At least they don't look like snakes.

Speckled trout

I'm on the home stretch for this gyotaku project and have purchased some interesting Japanese papers for the workshop next month.  There are so many kinds of papers, a fortune could be spent on them and it seems a bit like that at times!  However, as always, I have champagne tastes and beer money.  It seems whatever I'm drawn to or like using, ends up being the most expensive paper.  But I'm trying for middle of the range in pricing, with a few more expensive pieces included, as they do perform very well.

Tonight I've been working on a speckled trout.  The colour of this little fish is spectacular and I love using the very thin tissues to get a print from the trout.  I like seeing them appear under the paper, as if by magic, then the revealed print as I hold my breath and hope that it worked.  Its all magic.