Takeover plans

I'll call this study complete and consider the final composition for a larger piece.  I bought some large sheets of coloured mi-tientes paper today as stock was low.  Finding alternate coloured papers locally is difficult if not impossible, so if I run out, mi-tientes is my fall back paper until I can reorder online.

I need to reorganize the paper storage for my studio.  Right now its all sitting on top of a large shelving unit.  While that's ok for keeping it flat, it makes it more difficult when it comes time to actually find papers, so I end up hauling out everything to find just one piece.  More storage space is the answer and I do have my eye on expansion of my studio or at least expansion of some storage areas in the room adjacent to the studio. 

Where my studio is located is on the ground level floor of the house, well partially ground level.  At least the windows to the studio are at ground level, the walls beneath the windows are subterranean and a direct entry 3 or 4 steps down from ground level.   Beside the studio there is a large areas where laundry is located, then a utility room, a cold room for food storage and a half bathroom.  By taking over the utility room, it gives me a whole new area to isolate storage or to provide classroom space.

I'll just have to slowly take over the space so others don't complain too much...

Pebble study

Newfoundland is full of rocks.  It *is* one big rock sitting in the Atlantic Ocean.  So its not surprising that I have an affinity for rocks, stones and pebbles of all kinds.

Last night I played around with a bucket full of rocks, creating little towers, mini Inukshuks and arranged and rearranged the shapes, sizes, colours and lighting until I found something that pleased me.  

This is about 60% complete of a little study for a larger piece, perhaps in charcoal.  I like to get a feel for the work before I tackle something large.  I want to make sure that it will be exciting enough to inspire me to keep going until completion.

Often the simplest shapes are the most difficult to render in graphite.  Smooth stones with tiny pits and subtle gradation of colour always seem more challenging to draw well.  The lines of granite through the charcoal grey stone on top always fascinate me.  There are a couple of fine lines in the middle stone and the striped layers evident in the stone resting on the table.

I'll do a bit more on this study, then plan for a full size piece.  Maybe tomorrow I'll visit the beach and find some new models...

Another portrait update

This is another small update on the portrait of my mother.

I'm working on the patterning on the sofa cover, trying not to make it too strong and distracting.  As it takes up two thirds of the surface, I still have a ways to go, so I'm doing other little pieces in between to stop the boredom setting in.

I have told you that this is done on Stonehenge, but as I noticed the watermark tonight, I realized that its Somerset.  That would explain why its shedding as I blend or brush it.  The charcoal works well on this but doesn't give as smooth a gradation of values as I would like for portraiture.  But too late to turn back now!

The Arts Map

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Are you on the Arts Map yet?

The Arts Map is a listing of artists and their contact information and the work they produce from across the globe.   If you're travelling and want to check out some new artists or find a workshop, this may be the place to do it. 

You can search the site by name, location and medium to find who is doing what and where.  Google Maps pinpoints the address, making the artist easy to locate. For those uneasy about placing their exact location, you don't have to, but of course the location won't be accurate on the map, just the town that you choose.

There is no charge to sign up and place your dot on the map.  I've created mine here and have the distinction - dubious or not - of being the most easterly in North America at the moment.

The Arts Map is about inclusion, not exclusion. Our goal is to provide a resource which will benefit the entire arts community.

We hope you will create a marker and put yourself, your work, or your organization "on the map."

It is a beta release, meaning that the program is still undergoing some tweaks and upgrades.You can read the FAQs and learn more about the program and decide if you want to join in.  The world of art is all about exposure and networking.  I see the Arts Map as another tool that helps this process.

Surf

 Surf

6 x 9  soft pastels

I invested in a new box of pastels today to augment what sticks and stubs I already had floating around in tubs and trays.  There is an immediacy about pastels that fills the gap between drawing and painting.  The feel of them as they deposit pigment on a rough surface is very satisfying, almost as much as the intensity of colours that can be created with them.

The drawback with creating pieces in pastel is the challenge of shipping them when someone buys one who isn't local.  Its rather more elaborate to ensure the pastel doesn't disappear from the surface or get smeared by the time it reaches its location.  However, so far, so good, with any shipments of pastels that I'd made.  As long as I sandwich it with a gap between and make sure the piece can't move it works well.

This piece is still water, but not another river view of Salmonier.  This is a view of the ocean breaking over the rocks at Flatrock.  The beach, if you could call it that, has a handful of rocks at its edge, breaking off from the flat rocks that give the area its name.  The movement of the water over the rocks is endlessly appealing to me.

This little study was more a trial run of the new pastels than a serious piece.  However, blue is the other attractant to me, so air whipped water turning turquoise always captures my attention.

Ambitious Peep

Ambitious Peep
9 x 12  watercolour

I have distinct likes and dislikes in foods and it usually is a texture issue.  Marshmallow is one of those things that I cannot abide, smelling it, touching or (shudder) eating it.

However, I had seen shelves full of Easter treats for the past month or more and one of them was the culprit - Peeps.  Pure marshmallow covered in bright shells of coloured sugar.  I kept meaning to buy them as they appealed in shape and colour for future paintings.

Then a few days ago Chris Beck had posted about the challenge she had with Jelaine Faunce and Pablo Villicana Lara in her blog, I'm Painting As Fast As I Can.  They each had created a piece around Peeps.  I strongly encourage you to go visit all three artists and images, they are priceless.

So, with images of Peeps in my head, and a box of the (shudder) marshmallow candy in my studio I played around with various Peeps images. The result was the cross between a Peep and a goose egg.

This watercolour is about 9 x 12.  Thanks for the extra inspiration Chris, Jelaine and Pablo!  Happy Easter!

Back road at dusk

I love the time of day when light is fading.  It starts to dull colours in landscapes and intensify colours in the sky as the sun moves down in the sky.

In Newfoundland there are so many gravel roads in varying conditions that are not travelled as much but always turn up interesting views.  This is near the end of a small back road with a view of a tiny community across the water.  The skies are dramatic, almost looking as if they were on fire with the sun and the dark clouds above them back lit.

This piece is 22 x 15 and in pastel.

Gyotaku 'sketches'

 
I've been playing around with some gyotaku and variances using different fish, papers and backgrounds while I build up more substantial pieces.  These are what I consider the 'sketches' for the larger pieces.

While the salmon is taken from a real fish, the flounder is one of some replica fish that I purchased as back ups for when what I want isn't available or for use in specific teaching environments.  The replicas are cast from real fish and have good detail.  Neither of these pieces are complete yet, there is still more work to do in adding the eyes and enhancing the colours.  I was skeptical about the replicas, but the flounder here has good shape and anatomical realism. 

I have a number of Japanese papers that I'm trying as well.  The flounder is printed on cream coloured chiri paper that has lots of flecks of mulberry bark embedded in it, is soft and flexible but still fairly strong and withstands printing and manipulating well.

As I experiment more with a variety of papers, I'll develop more knowledge about them, their characteristics and strengths.  There is such a variety and they are becoming more readily available in art supply stores around the country.

The Japanese Paper Place in Toronto has a huge range of papers and will likely be getting my business.

The Original Paper-Ya on Granville Island in British Columbia has an interesting selection of various papers.

If anyone knows of other good suppliers of japanese papers in Canada, do let me know.

Salmonier II

The little river at Salmonier still appeals to me and makes me want to use more pastels to depict it.

This is a small piece 5.5 x 9 inches on Colourfix paper.  I like the sanded surface for pastel.  It grips the pigment well.  I also have a couple of pieces of St. Armand Sabretooth paper that I should use as well.  I just need the right inspiration for it.  Perhaps another view of the river at Salmonier...

This piece is available for sale on my Available Art page.

Portrait update - mother

I've been slowly working on this portrait of my mother, doing a few minutes here and there and its starting to come together now.  The start of the portrait is here.

Its on a full sheet (22 x 30) of Stonehenge paper.  This is velvety smooth with a good tooth and holds the charcoal well without giving out.

I've finished most of the face but will be refining it more with values and the hair as well.  Now I'm working on the endless sofa cover pattern.  It has a floral design which may be the end of me.  I'm not sure how much detail I'll get into on this, it depends on how it goes and how much I can stand!

For now I'm working left to right developing pattern and values for it. Its unlikely that my mother will ever see the piece, as she doesn't like images of herself in any form.  Left in her hands, she'd likely destroy it.  We all have self images that never seem to match another's vision, but hers is rather extreme.  And at 85 its sure not going to change.

Andalusian dog and cat

Working from life or your own images is usually the best form of reference but sometimes it isn't always possible and you are not in control of colour or values.  But there are ways to push the image into a form that will help you see light and shaded areas more easily and help you create value maps in your painting or drawing.

I was using up the end of paints on my oil palette with these two little pieces from this weekend's WDE at WetCanvas.  The images, provided by Harry Hamill, didn't have the levels of clarity or shadows that I would normally look for in a portrait reference, so I need to do some tweaking before tackling them.

Posterizing enhances areas of minimal shading in bands that are more distinct, allowing the artist to see more easily the value map of an image.  This is so useful when shadows are weak or seemingly non-existent.  That and a little darkening of midtones and the image became clearer in value placement and much easier to tackle.

These pieces are 5 x 7, completed in oils.

Baggy

 

Years ago when I did a lot of animal commissions while in the UK, one of the most common dogs that I painted or drew were Labrador Retrievers or Golden Retrievers.  I even had a golden Lab myself, the wonderful Baggy, who I rescued from an animal shelter.  Baggy was found wandering the streets of Bridgewater, half starved and was a large Lab with a head like a boulder. He was quite old and I was always taking in waifs and strays so he came home with me.  He got his name because his skin was literally hanging on his frame he was so thin when he first arrived.  I soon fattened him up.

He had obviously been trained to carry at some point and would get anxious on walks if he wasn't able to carry a bag or his lead.  I had a little mini dachshund then so I would hand over her lead to Baggy and they'd walk slowly on ahead of me, he hanging on to her lead.  It used to amuse people as she was so tiny and he so large.  He was a great dog.

They are usually gentle dogs with kind natures, good around children and also great dogs to take hunting. Baggy was all of the above, but I don't know his record as a gun dog as I have never hunted.  This was one of his favourite spots, snuggled up with the girls and Daisy, the dachshund, pretending he was a lap dog.

I liked the expression on this dog's face.  He was alert, watching something or someone. And he reminded me of Baggy. So I did a quick watercolour sketch laying in basic lines first then just adding colour as I went.  Its about 9 x 12 on 140lb Arches.

Old Blue complete

 I'm going to call this piece complete.

I've added a light wash of colour in places to accent and break up all that blue.  I still can't get a decent scan or photo of it.  I'm just going to stop saying that.  Everyone who reads my blog knows my photo skills are crappy.  I make no apologies.  Its a left brain thing.

Meanwhile I've created some bio notes as I have a few irons in the fire that need immediate attention.  Writing in third person always feels odd.  I keep thinking 'who is this person? Do I know them?'  However, the formula is there for writing a piece about me and my work and I'm pretty happy with it. I'm in giclee mode now that spring is more or less here and will visit the printer in the next day or two to get some pieces underway.

There are projects in store that I can't say anything about yet.  You didn't hear me say that, ok?

The cycle

The movement of water over rock carved out this little curved pool at the base of some high cliffs near Red Head.   A stream wound its way from miles uphill through barrens, woods and rock.  It hugged the rock, mixing with a trickle oozing from the rock face that joined it on its journey to the sea.

It picked up speed as the ground sloped downwards over time and water smoothed rock leaving little bubbles of are and creating bands of foam then darkening as the stony hollow deepened.  It  became more still ,as if deciding what to do and where to go.  It hesitated before taking the final plunge into the salty ocean, relinquishing its sweetness to the cycle that would go on forever.

This pastel has more work left in it, but its heading in the right direction I believe.  This pool was found after travelling down a path that only mountain goats would go, that lead to the water and leave you at sea level literally.

Old Blue - update

I'm nearing completion on this piece.  If I have enough time, I hope to finish it this week.  I'm building more shading and completing little sections of peeling paint and dampness in the plywood on the base of the boat.  Detail is what will make or break this piece I believe, as its such a tight crop.  And, once I get into it, I adore detail work.  Heaven knows what that says about me!

Once the stippling is complete I will likely reinforce the warm light of early morning as it lit the boat, with a pale wash of watercolour.  The hours on this so far?  I've not really been keeping count but I'd say probably 40, maybe more.

Peppermint knobs

With only a short time available today to paint, I decided to take 20 minutes and apply it to a study in watercolour.

These peppermint knobs sitting on their red bag are part of the Purity Factories range of products which are local and somewhat of an institution in the province.   My initial watercolour of Purity Kisses was based on one of the types of candy produced here and I had a mini series in the back of my mind to do more of their candy.

Peppermint knobs are something I remember from my childhood and associate with my grandfather who always seemed to have a limitless supply of them in his pocket for me.  The indistinct striping and sugary coating haven't changed over time, not has the taste, which is mild peppermint and not over powering.

I have a drawer in my studio filled with bags of Purity candies and a few more products in my pantry waiting for their moment to shine.  I like trying a study of a piece before going for the real thing.  It helps me work out colours and composition instead of experimenting on a full sheet of paper.

Tropical capelin

I had a long piece of leftover masa paper that had been painted so I played around with the image of a capelin.  I stretched the capelin out over the paper giving it the look of an entirely new species at this point I think.

Watercolour layers, a hint of gold leaf and a touch of pastel completed it. I've enjoyed creating this piece.  Its an interesting exercise to figure out the different colours in fish and then go one or two steps higher in key to make it stand out more.

Even if most fish around these waters aren't this colourful, I'll keep trying to make them so.  This piece is available for purchase on my Available Art page, located just under the logo.

Salmonier pastel

I'm not a pastellist and rarely use them beyond touches in other pieces, but occasionally I feel a need to try them and today was the day. Then again, I haven't got a great set of pastels.  Its a combination of various brands and colours along with left overs from many years ago.  Brands and quality vary so much and I should invest in a few more colours then perhaps I'd be more inspired than trying to create colours that just will not be created with what I have.  However I don't want to invest a lot of money in something that I won't use frequently.  What are your six 'must have' colours in pastels?  What brand?

I needed a touch of summer and found an image that I took at Salmonier last summer.  A shallow river winds its way through reeds and was quite cooling being near it on that hot day. I'm hoping this captures a bit of the day.

Snatched moments of time

I've steadily dotted off and on with this piece.  Because of its smaller size, (6.25 x 7.5) its easily portable which means I do a little while watching the news or sometimes take it to bed with me and add another layer there.  I work on it while I have coffee in the morning and when I get home from work.  These aren't large blocks of time, but small windows of opportunity that can stretch from just a a few minutes to an hour or so.

Now that I've filled most of the boat with ink, I'm starting to develop the texture and shading.  There is grass growing in the middle of this boat.  I'm still now quite sure how that's going to work yet, but I'll figure it out as I go.  Meanwhile I'm still working on what seems to be endless plywood and its never ending texture.

Signs of spring

It must be spring.  The little pond in the garden is thawing rapidly.  Snowbanks on the side of the road diminish under a cool sun as I type .  Woodpeckers are drumming on the house early in the morning.  And Tripod is challenging ownership rights over his territory with another cat.

Unfortunately Tripod forgets that he's at a disadvantage, having three legs, and sometimes comes away wounded as he did last evening.  Nothing serious, just the usual tomcat scuffles but enough to make him feel sorry for himself for 24 hours.  I want to have him neutered but The Other One won't hear of it. Why do men put their concept of manhood onto a cat?

This morning it was frosty and as I waited for the windscreen to clear, I took a few photos of a thin layer of ice that had formed overnight on the pond.  Ice crystals pushed out from a sheet of solid ice, crisscrossing and mimicking the tangle of grasses on the bank of the pond.  The reflections of the bright blue sky and trees on the still water were diffused in the ice.  I love how ice changes and softens reflections.  Its as if a different world is trapped within in or underneath it.  It always reminds me of Through The Looking Glass and What Alice Found There - the sequel to Alice's Adventures in Wonderland.  If you walk through, everything changes.

What is spring like where you are?