tag:blogger.com,1999:blog-87864195339389843562024-03-14T05:56:47.185+00:00keith epps • artwork • blogUnknownnoreply@blogger.comBlogger209125tag:blogger.com,1999:blog-8786419533938984356.post-65784730041139486752024-03-06T13:10:00.001+00:002024-03-06T13:10:58.957+00:00Seven Trees<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDIZGg-Kn6IWkdiqG_rUKyDhZKINn4GaP9OszEMHSsgByGRgiurDfTIFTIVEjX-laqKUVW-mIyMJWBwJdodtdQqNGeMW6TatANmUEKlLgjXMw8FrjwRaUQsTDSL1NwwNIrovlVcjGNNT08-sVhszOYmipY-H2exsIWHV-KVKPymR_n2D36Vgyt3YxDoV5/s2000/7%20Trees%202000px@300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1251" data-original-width="2000" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGDIZGg-Kn6IWkdiqG_rUKyDhZKINn4GaP9OszEMHSsgByGRgiurDfTIFTIVEjX-laqKUVW-mIyMJWBwJdodtdQqNGeMW6TatANmUEKlLgjXMw8FrjwRaUQsTDSL1NwwNIrovlVcjGNNT08-sVhszOYmipY-H2exsIWHV-KVKPymR_n2D36Vgyt3YxDoV5/w400-h250/7%20Trees%202000px@300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 35x22 cm
<p style="text-align: justify;">I haven't the faintest idea what music I was listening to when starting this piece, but I was very conscious that Radiohead's <a href="https://www.youtube.com/watch?v=u5CVsCnxyXg" target="_blank" title="youtube">'No Surprises'</a> was playing as I touched in the last few additions underneath the left-hand clump of trees.</p>
<p style="text-align: justify;">The initial <a href="https://www.google.co.uk/maps/@51.450281,-0.2797082,3a,57.6y,354.59h,92.17t/data=!3m6!1e1!3m4!1s0kL9X3nAsnoAY5hFh6YhGA!2e0!7i16384!8i8192?hl=en&entry=ttu" target="_blank" title="google streetview">source</a> for this smallish painting is a Google Streetview image in Richmond Park, London.</p>
<p style="text-align: justify;">Just for change it's more about the near group of trees and their shadows rather than the sky. It's late summer, so the foliage is very dark, and the grass is dry and yellow with drought, which sets up up an interesting tonal situation. The central tree's trunk has ben narrowed slightly, as I couldn't make the source's original huge girth credible. I suspect it's a very old tree indeed – the others are young clumps of three – and has probably had some thinning out work done to preserve its crown and to keep it from breaking up. What struck me about these trees, along with their dark tone and symmetry, was the flat uniform bottom edges. Richmond Park is stocked with deer – a reminder of its original status as a royal hunting park. Most, if not all of the trees in the park have the same level bottom edge - the maximum height to which the deer can reach.</p>
<p style="text-align: justify;">The original sky wasn't that interesting, so the final source image was a construct of bits of streetview from up the road in Richmond Park, and some clouds I had snapped from up the road in Edinburgh last year. The original patches of blue sky behind the the cumulus were very much desaturated to monochrome - fake altostratus, maybe? - but the slight blues and pinks of the distance were very much retained, and, in hindsight, should maybe have been exaggerated a little.</p>
<p style="text-align: justify;">This piece was begun ages ago, with tight drawing and rather weak, indecisive paint washes. Restarting it in January with thicker, more opaque, paint brought a bit more solidity and purpose, so I'm quite happy with that, even though it took far too many sessions to do. The sky and ground are treated completely differently; the sky has loose and slippery walnut oil (plus cobalt driers!) as a medium – with M. Graham's Titanium White in Walnut oil – while the ground and trees have a stickier Stand Oil/Damar varnish medium. This gives the sky and clouds a softness that the ground doesn't require. (I do quite like the softness of the sky paint and its undramatically narrow tone range)</p>
<p style="text-align: justify;">The title 'Seven Trees' is fairly generic, but I think that you can see – especially from looking closely at the source link – that the subjects are Oak trees. However, to title the painting 'Seven Oaks' would be to mislead the viewer into thinking that this was Sevenoaks, in Kent. Which it most definitely is not.</p>
<p style="text-align: justify;">What you can't see here, no matter how closely you look, are the myriads of Ring-necked Parakeets that have made Richmond Park and South West London their home. There is an abundance of theories on how they got there, but however that happened they are now firmly resident and are spreading northwards, and even – according to <a href="https://www.nhm.ac.uk/discover/ring-necked-parakeets-in-london-and-uk.html" target="_blank" title="article">this article</a> – (gulp) to Edinburgh. I haven't seen any yet, but I did see a buzzard wheeling above our neighbourhood just last week.</p>
<p style="text-align: justify;">Maybe it was keeping a keen eye out for parakeets...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-45661624631746624192023-12-14T14:59:00.000+00:002023-12-14T14:59:35.268+00:00Morning - Kopachevo<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXuVZ_4gqdukYjeRRHzQs4ABFmg_hs-2n4umnW7446iZku35eda7OnN2iQzI4W7DC5HbcQiG3dL7xffWP4K0ZZkkWvQHH2kE8yMR-mg2hmjavQQZyIZiN32_5p4RlXYu6el92h59-YuJlF238uKpv0e8HiZmKnqic0sM9Uz_32OJnWsnKCKCUXyGZix7l_/s2000/Kopachevo%202000px%20@%20300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1428" data-original-width="2000" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXuVZ_4gqdukYjeRRHzQs4ABFmg_hs-2n4umnW7446iZku35eda7OnN2iQzI4W7DC5HbcQiG3dL7xffWP4K0ZZkkWvQHH2kE8yMR-mg2hmjavQQZyIZiN32_5p4RlXYu6el92h59-YuJlF238uKpv0e8HiZmKnqic0sM9Uz_32OJnWsnKCKCUXyGZix7l_/w400-h285/Kopachevo%202000px%20@%20300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">The last of the Small Scales 'postcard' pieces for this year. There's a brief shimmering track which fits it quite well – '<a href="https://www.youtube.com/watch?v=7PST7oq4XMk" target="_blank" title="youtube">Takk</a>', from Sigur Ros.</p>
<p style="text-align: justify;">I found this <a href="https://maps.app.goo.gl/eFtVhXsK5Pp9zuA8A" target="_blank" title="google streetview">location</a> a few years ago, but couldn't find a way to make it work. It's in north east Croatia, looking onto the flood plain near the confluence of the rivers Danube and Drava, and just up the road from the small village of Kopachevo (Kopačevo). It's a bright and breezy morning in October, and the leaves will be turning very soon.</p>
<p style="text-align: justify;">It's not about the sky for a change – though the cirrus does add energy – but much more about the tree masses and open areas. I probably would have organised something using this image source a while ago, but wasn't happy with the area on the right; I felt the glimpse of the lake there somehow weakened the open 'heath' to the left. It was solved very simply though – by importing some trees from the next patch of woodland along to the left, and flipping them horizontally to make the light fit. That happy accident gave me the small 'V'-shaped tree in the foreground and the atmospheric curtain of trees behind it.</p>
<p style="text-align: justify;">A bit of technical stuff. Along with the other two previous pieces, this is primed in grey, dot-gridded in gouache, and the composition drawn straight in with thinnish oil paint - using fairly opaque pigments initially, then thinner more transparent modifying layers. Running out of time, I employed more-than-I-usually-would cobalt driers in the latter stages (especially in the yellows), but these layers are so thin that I'm not that bothered about potential future surface damage. (I would be with thick paint, but certainly not here)</p>
<p style="text-align: justify;">It turns out that this randomly found location - <a href="https://en.wikipedia.org/wiki/Kopa%C4%8Dki_Rit" target="_blank" title="wiki">Kopački Rit</a> - is actually an important European wetland, and is a designated nature park. I was interested in the reddish ground vegetation, and it turns out that these are the areas that are regularly flooded. This can be seen <a href="https://maps.app.goo.gl/XcTibJ5DJUBThtpv9" target="_blank" title="google streetview">here</a> – the same place at a different date. The waters can be seen more broadly from this <a href="https://maps.app.goo.gl/gTScXRFes1ij6zae7" target="_blank" title="google streetview">drone view</a> - Kopachevo village is straight ahead, where the smoke is rising from. However, if you rotate the streetview in the opposite direction - northwards - the 'red grass' in the painting is under the inlet just as the bend in the road straightens.</p>
<p style="text-align: justify;">This beautiful setting has quite a lot of potential for development into a larger and more complex piece. I've a bit of catching up to do with works already in progress, but with all things being well I should be starting on this within a few months.</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-56362655137608847172023-11-26T13:14:00.001+00:002023-11-26T13:14:58.697+00:00Tree - near Orenburg<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3u7dyfmckIvA3jVW48z817bQZnZg2QSTUntPHUBY5TDog4vkbSWCWlrPXVY77rQiLuG0RUzX1qsZbzAfP1Ztk7fxPBBy_5rt5wMqiIS707TlxyOKBwrofQOKseWealG06tAXnK5pbmU2Ns9-7m02W_LSPEHubbFOMgyU93FKQeiXA5F6Z6FVKJ-We5Vw/s2000/Orenburg%202000px%20@%20300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2000" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3u7dyfmckIvA3jVW48z817bQZnZg2QSTUntPHUBY5TDog4vkbSWCWlrPXVY77rQiLuG0RUzX1qsZbzAfP1Ztk7fxPBBy_5rt5wMqiIS707TlxyOKBwrofQOKseWealG06tAXnK5pbmU2Ns9-7m02W_LSPEHubbFOMgyU93FKQeiXA5F6Z6FVKJ-We5Vw/w400-h286/Orenburg%202000px%20@%20300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15 cm
<p style="text-align: justify;">This is the second of the batch of this year's Small Scale pieces. There is a track to go with it – a short piece from Max Richter's <a href="https://www.youtube.com/watch?v=eaODQTwrMGI" target="_blank" title="youtube">Infra</a>. It's got a sweep which matches the <a href="https://maps.app.goo.gl/6fzgcBWxKUAERGQ6A" target="_blank" title="google streetview">location</a> - The Russian steppe grasslands. This specific spot is near Orenburg, a city about 100km west of the southernmost tip of the Ural mountains, and about the same distance north of the Kazakhstan border.</p>
<p style="text-align: justify;">It's mostly about the sky, but the tree is very important. I flipped it from leaning into the slant of the cloud banks – as it does in the source - to leaning to the left away from them, as if in reaction. The 'curl' of its right side was formed accidentally during the flipping process and adds a tasty bit of character. Having done that, when the whole photoshop assembly was reversed left/right when checking the composition, it seemed as though the tree was shouting at the sky. Flipped back, as painted, the tree seemed more relaxed, and in awe of the sky – or at least enjoying the spectacle. Which is what I was seeing.</p>
<p style="text-align: justify;">This batch of Small Scales are all done with the same grey priming and straight-to-oil-paint system, but there's a lot more scratching of the wet paint to indicate the foreground grasses in this one. I've exaggerated the pinkness of the grass slightly, and the lower sky to the right of the tree has a blue haze which perhaps doesn't show so well in this photograph. It might be easy to miss in a gallery of loudly competing images, but I think the simplicity of the composition allows the very limited colour scheme to bloom, which I quite like.</p>
<p style="text-align: justify;">A little snippet of background information, just so you know. The <a href="https://en.wikipedia.org/wiki/Eurasian_Steppe" target="_blank" title="wiki">Eurasian Steppe</a> – which stretches almost unbroken from Eastern Europe to China - is subdivided into various types. The area here is part of the Pontic/Caspian Steppe (the Black Sea being the Roman 'Pontus Euxinus'); the land of horse-cultured nomadic peoples like the Scythians, Goths, Kazakhs (Cossacks) and Huns, who were in turn overrun (or overridden by?) the Mongols from the Gobi-Manchurian Steppe even further east.</p>
<p style="text-align: justify;">The whole show – some hundreds of pieces – is online now at <a href="https://www.openeyegallery.co.uk/small-scale" target="_blank" title="Open Eye Gallery">On a Small Scale Online</a> and is always worth a look.</p>
<p style="text-align: justify;">(My 'Cumulus – Lendum' seems to have disappeared though. Hopefully sold)</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-29052511026995788652023-11-04T16:59:00.000+00:002023-11-04T16:59:27.509+00:00Cumulus - Lendum<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNfwBRpMgstilZeIKjd9MWp9KHJYmwjTJrQdAkVHbX3WB9gku4Y2xluyoM8hnw-sYWhIWeGz_LhnH8BZ7ubOWZxWQaw5yqwdim0G-jsZ3YpgWo6f1XhkuMt1kMdq2jvcRtVmR3Z3obQ98nRHSSN7Aw2hhPCk7MfZNLapbzP0jdt8qfGiqchQFJMvvUI54/s2000/Cumulus%20-%20Lendum%202000px%20@%20300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2000" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNfwBRpMgstilZeIKjd9MWp9KHJYmwjTJrQdAkVHbX3WB9gku4Y2xluyoM8hnw-sYWhIWeGz_LhnH8BZ7ubOWZxWQaw5yqwdim0G-jsZ3YpgWo6f1XhkuMt1kMdq2jvcRtVmR3Z3obQ98nRHSSN7Aw2hhPCk7MfZNLapbzP0jdt8qfGiqchQFJMvvUI54/w400-h286/Cumulus%20-%20Lendum%202000px%20@%20300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15 cm
<p style="text-align: justify;">A little piece – the first since the summer – and moving back into the swing of things.</p>
<p style="text-align: justify;">This one's based on a google streetview <a href="https://maps.app.goo.gl/FHdF5pjYzpxGh6GY9" target="_blank" title="google streetview">source</a> near Lendum, in northern Denmark. There's no specific music associated with this, but I did listen to a lot of J.S. Bach's 48 preludes and Fugues, and <a href="https://www.youtube.com/watch?v=KGH0fRP6lgY&list=OLAK5uy_lKkYV7N46E6s9w9HryzCx6BKErnF9XTGY&index=34" target="_blank" title="youtube">this</a> is but one...</p>
<p style="text-align: justify;">It's all about the cloud and the clear blue sky, of course. I played around with the source image quite a lot - flipping the composition from left to right, then isolating the landscape and flipping that against the sky, which worked a bit better. I tweaked with the skyline and some of the tree groups, and got an arrangement I was happy enough to go ahead with. It's been very pleasant working on a fairly simple composition for a change, and without overly committing myself, I think it's a strong enough idea to make into a bigger piece sometime.</p>
<p style="text-align: justify;">A brief delve into the technical side here. The priming was grey for a change, dot gridded with gouache, and the compositional elements placed and outlined with thin oil paint. Any visible grid dots were then washed off with water (much easier and quicker than rubbing a pencil grid away) and the painting was filled in with fairly opaque oil paint. Forms etc were subsequently developed with thinner transparent glazes and scumbles. The clarity of the blue was quite important – I used Michael Harding's <a href="https://www.michaelharding.co.uk/materials/kings-blue-light-no-211/" target="_blank" title="Michael Harding paints">King's Blue</a>, with a touch of Winsor & Newton Pthalo Blue (Red shade) – just enough to knock the Ultramarine's violet tendency down a bit and add a bit of intensity. The King's Blue I'm using is an older tube, and is a factory mix of Ultramarine, Titanium White, and Zinc White. Harding withdrew all Zinc White from his paint mixes a few years ago though; a research paper had demonstrated that thick layers of Zinc White oil paint were prone to breaking up. Personally, I can't see any reason on Earth why anyone would use Zinc White in thick layers as it is such a semi-opaque pigment and one of the longest-drying oil pigments available, but there we are.</p>
<p style="text-align: justify;">This is the first to finish of a few postcard-sized pieces being done for the annual Open Eye gallery's 'On a Small Scale' show. The timing of their invitation could not have been better; I had been attending a chiropractor for about a month and was just beginning to feel the benefits. To cut quite a long and rather painful story short, since early Spring my back pain and accompanying sciatica had ruled out most artwork and had latterly made easel work – standing or sitting - impossible. I began this treatment – basically corrective spinal adjustments, stretches & exercises, and rigorous attendance to posture (crossing legs at the knee is Verboten!) – in August, and that work is now starting to kick in. I, and my knees, can still be a bit weak and creaky about town, but the lumbar improvement so far is certainly making life for me (and Madam) a Whole Lot Better.</p>
<p style="text-align: justify;">Which is nice...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-84682877496029588782023-05-16T13:27:00.001+01:002023-05-16T13:32:49.123+01:00Dog - After the Rain<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1g669-H4RiG1vo8ZG9qp7BE6cXpbfa814_7CK_o77NeSuk52NEaxMjFgliyzBcwzo_SwBFYaars_i12jYaE_AGEn4bk4Kg63Oz5k4dhDItsBhuM-yovZFLr3NiKrhT4D_HBvMN0IpUWYVuSt2ycXUJE06QNjDU2gBdFtiXQ2I2woSd6pfhltt0FLzRg/s2000/Dog%20-%20After%20the%20Rain%202000px%20@%20300dpi..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="1667" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1g669-H4RiG1vo8ZG9qp7BE6cXpbfa814_7CK_o77NeSuk52NEaxMjFgliyzBcwzo_SwBFYaars_i12jYaE_AGEn4bk4Kg63Oz5k4dhDItsBhuM-yovZFLr3NiKrhT4D_HBvMN0IpUWYVuSt2ycXUJE06QNjDU2gBdFtiXQ2I2woSd6pfhltt0FLzRg/w334-h400/Dog%20-%20After%20the%20Rain%202000px%20@%20300dpi..jpg" width="334" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on panel 51x61cm
<p style="text-align: justify;">There is some <a href="https://www.youtube.com/watch?v=knGSEww0Ffc&list=OLAK5uy_l5NCi7cO_GlkTKFBuFV4MSkec0cwluxSo&index=11" target="_blank" title="youtube">music</a> for this painting, but because it was worked on and altered over a long period – in spasms, for way over a year – it is difficult to pick out anything that specifically sets a single overall mood. If I remember correctly I started off with Handel's '<a href="https://www.youtube.com/watch?v=TmHwRCDk7b0" target="_blank" title="youtube">He shall feed his flock like a shepherd</a>', then went through the gamut of Shostakovich/Bach Preludes and Fugues, Richter, Radiohead etc, interspersed with a vast multitude of random pop singles (e.g. <a href="https://www.youtube.com/watch?v=4GHe5BPb6Yg" target="_blank" title="youtube">Fire Brigade</a>).</p>
<p style="text-align: justify;">I was always struggling to get energised, but in the very final stages of this marathon I ended up with the William Lawes six-part 'In Nomine' (which I hope is now playing). It's a wonderful piece from when I first became interested in Early Music in the 1980s. It was recorded in 1971 - at the very beginning of the Early Music revival - by Gustav Leonhardt, and uses 20th century violins, violas, and cellos instead of gut-strung viols. Despite this heresy(!) the players produce a sublime passage near the middle where only a few parts twine and weave around the high long-note melody ('cantus firmus') of the '<a href="https://en.wikipedia.org/wiki/In_Nomine" target="_blank" title="wiki">In Nomine</a>' form. The Handel still works though.</p>
<p style="text-align: justify;">Back to the painting. Originally working-titled 'Sheep Tree', the source image is an old snap from a bus – just a view yards away from <a href="https://goo.gl/maps/pG1KkEm2wmrfwZri8" target="_blank" title="streetview">here</a>. The landscape is the fine arcadian parkland of Culdees Castle Estate, in Strathearn. Interesting to see that there is actually a group of sheep resting beneath the main tree.</p>
<p style="text-align: justify;">I should say that this was composed and begun in a state of resistance – by which I mean that last year I went through quite a bad period of negativity about painting, but still felt obliged to at least attempt some work. In the original composition there were three sheep in the foreground, with a naked figure lying beneath the tree. The sky had horizontal bands of pale blue and light grey cloud, with a bit of lighter, more ragged cloud, towards the top. My back had begun giving me problems, and my initial work was fairly cursory in a 'whatever it is you're doing get it done quick so I can sit down please!' sort of way. Some of the hurried early work wasn't smoothed enough and caused some lasting effects on the surface. For some reason I experienced difficulty gauging the tones in my source and replicating them on the painting – even attempting to work with a photographer's grey card to get them right (it turned out that I wasn't far off in the first place, but I suppose that is a measure of my self-doubt at that point).</p>
<p style="text-align: justify;">I placed clothed figures and a dog beneath the tree. An improvement on the rather meaningless single naked figure. That altered the premise of the painting, and made it far more relevant. The foreground spaces weren't reading properly, so I repainted all the sheep a little smaller. That didn't help, so I painted out all the sheep. This made the whole thing far too empty, and the space still didn't read properly.</p>
<p style="text-align: justify;">At this point, even after another long lull, I was seriously weighing up whether to abandon this piece, and rub it down and re-prime it ready for a new project.</p>
<p style="text-align: justify;">After testing out new remedies on photoshop, I decided to carry on but drastically change some elements. I introduced the two wedges of rough foreground grass (from the setting for the other sheep-based composition which didn't work). I made the sky a grey overcast, with the slanting band of light, and exaggerated the 'upper glow' from the original source a little. All this helped massively, but the broad brush painting of the opaque sky paint meant the redrawing of all the tree outlines, yet again. Which was tough. It was also inspiring though, as that loose grey paint made me think about the effect the back lighting was having on the far line of trees – their dark silhouettes had become fuzzed and desaturated. Developing this idea, I made their upper foliage faded and grey, and introduced more colour and contrast towards the ground, where the colours and tones were normal and natural. I rather liked this effect – it empowered the backlight - but it presented me with a challenge when applying that system to the main tree. Here, the very top foliage is a very light grey, and could be considered a bit unnatural, but I think – and hope - that I've got away with it.</p>
<p style="text-align: justify;">A quick run-down of technical stuff. From my notes: 'Spot-gridded and elements placed and drawn with crayon. Forms and tones developed with thin Raw Umber fluid acrylic. Then oil paint.' As I said above, I had to re-draw the trees multiple times - so, so, tedious. On the plus side, though, all that correcting and repainting has produced quite a nice surface, albeit with many more layers of embedded dust and cat hair than I'm comfortable with.</p>
<p style="text-align: justify;">I'm pleased with the new flat diagonals and wedges in the foreground and sky, though - they bring a gentle dynamism to what was originally a very static composition. Generally, I love stable horizontals; they are very satisfying in a 'landscape' or square format. Unfortunately, in this 'portrait' format too many became dull and unhelpful.</p>
<p style="text-align: justify;">All in all, there are some interesting bits of painting in this (and the odd unresolvable patch I'm just letting go), but - because of the rather 'fire-fighting' nature of the compositional rescue - it maybe lacks the 'wholeness' which good paintings usually have. I'm glad I rescued it, but it was a real struggle and took far, far, too long to produce.</p>
<p style="text-align: justify;">Lastly, I feel I should make it known that the group of figures beneath the central tree is a composite, using photographs of some of the atrocities discovered at Bucha, north-west of Kiev, as Russian soldiers retreated in April last year. Including the dog.</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-72739498008733057192023-04-19T13:04:00.005+01:002023-04-19T13:21:20.397+01:00Outcrop<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm1DdUhA6mL4jzE13lBeafr3z4hywP6WhODt4SzSUWVqrRWLHKvFdCYB9puIG3a2P-PknImg_8w2qhBiSBxsX_t2D-Yp1WfGD1FjF1PWx_auEoPResvQHMzNrGqmWmwMV3LSxoYRQITAoiin9Z05xpK-iLmr-eiplzgBCrDdl27CpQn9ZoO75lIEY1bw/s2000/Outcrop%20Final%202000px%20300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2000" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm1DdUhA6mL4jzE13lBeafr3z4hywP6WhODt4SzSUWVqrRWLHKvFdCYB9puIG3a2P-PknImg_8w2qhBiSBxsX_t2D-Yp1WfGD1FjF1PWx_auEoPResvQHMzNrGqmWmwMV3LSxoYRQITAoiin9Z05xpK-iLmr-eiplzgBCrDdl27CpQn9ZoO75lIEY1bw/w400-h286/Outcrop%20Final%202000px%20300dpi.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: verdana;">oil on card 20x15 cm
<p style="text-align: justify;">A finished piece! A very small preparatory work for a larger painting, hopefully to be started later this year.</p>
<p style="text-align: justify;">There is some music to go with it – this <a href="https://www.youtube.com/watch?v=A3t7Tu8vX-Q&list=PL81F9331769904845&index=20" target="_blank" title="youtube">Prelude</a> was playing as I was making the finishing touches, and it felt very comfortable (maybe not so much the more frenetic Fugue that follows on from it, even though it does land beautifully).</p>
<p>The <a href="https://goo.gl/maps/9uD1SKA1gWEwt3ei7" target="_blank" title="google streetview">source</a> was this very dramatic setting I came across while idly random-browsing on google street view. It's on the piratically named 'Carcass Island', in the Falklands. It was a wonderful raw subject, but to better describe the space between the outcrop and the viewer, I felt I had to make some alterations: I imported some of the rocks on the left of the painting (from the same area), and introduced the foreground rocks (from Norway). The distant mountains and lower clouds are a left/right switched <a href="https://goo.gl/maps/1cAJWYkmW6LGQqeq7" target="_blank" title="google street view">view</a> looking far across Loch Lomond westwards from Ben Lomond. I've now forgotten where the upper sky and stylised Cumulonimbus are sourced from.</p>
<p style="text-align: justify;">This piece is a preliminary exercise to familiarise myself with and explore the complexities of the subject matter, and if problems arose it would be easier to sort them out nice and early at this smaller scale. As it happened, there was enough play in the sky to depart from my photoshop construction from the very start.</p>
<p style="text-align: justify;">I took my time placing the shapes and rock details – first in water soluble graphite (I still find it useful, but very waxy) then reinforced and toned them in with a thin neutral mix of Ultramarine and Burnt Umber oil paint. The rest was done with tints and veils of transparent and semi-opaque oil to bring out the grasses, and the warms and cools within the rocks.</p>
<p style="text-align: justify;">It went all right, but I couldn't help thinking back a few years to an exhibition of the work – and especially the <a href="https://upload.wikimedia.org/wikipedia/commons/1/11/Giovanni_Battista_Lusieri_%28Italian_-_A_View_of_the_Bay_of_Naples%2C_Looking_Southwest_from_the_Pizzofalcone_Toward_Capo_di_Posilippo_-_Google_Art_Project.jpg" target="_blank" title="image">enormous</a> light-soaked watercolours - of Giovanni Battista Lusieri. His depictions of <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYMzXd5-fnkqIp02P98mN7_cZMu-_Vxg0-W6vIULlZHQKbzJnYlAFI-86YMjRmtuEJESnY69YEITIYnKYCkkmT-kDMZPLPzbug_lPWMGRDAHqdK-zXi78U0BwqQqbQy0uzhsrr0_jDqo/s1600/Giovan+Battista+Lusieri+1782-1799+vista+di+Palermo+da+Monreale.jpg" target="_blank" title="image">rocks</a> (with watercolour) were phenomenal, and I'm thinking that I could certainly do with a bit of that when I eventually get around to the larger version of this little piece.</p></span></div><div style="text-align: center;"> </div><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-24060934403726836922023-01-31T12:42:00.014+00:002023-02-01T12:50:44.108+00:00Window Work – January 2023<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIBAArSYVYm6IiopTHaUUeGE-J6wG4MWtTtRVQeft57c-Kk6W68LvbbTzPWbH_VuI-nKbQNzgNg7jHqBAkXm5gpJXzbDL2Rz88JSSBuNubJbL8AGp2wBPHczP9qW_pw6H3Lu0mJqhu8lk8do6V4jQLWDwPwRIYBWHy40xLRdbYrM3pCSwhMNwt2dPQOg/s4000/Window%20Work%20%E2%80%93%20January%202023%201v2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2267" data-original-width="4000" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIBAArSYVYm6IiopTHaUUeGE-J6wG4MWtTtRVQeft57c-Kk6W68LvbbTzPWbH_VuI-nKbQNzgNg7jHqBAkXm5gpJXzbDL2Rz88JSSBuNubJbL8AGp2wBPHczP9qW_pw6H3Lu0mJqhu8lk8do6V4jQLWDwPwRIYBWHy40xLRdbYrM3pCSwhMNwt2dPQOg/w400-h226/Window%20Work%20%E2%80%93%20January%202023%201v2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">6B graphite
<p style="text-align: justify;">I thought, for a change, that I'd dig out one of my larger, lumpier, drawing tools. These little sketches are all done with thick 6B graphite – 5.6mm leads in a chunky holder. This particular clutch <a href="https://www.jacksonsart.com/jackson-s-clutch-pencil-leadholder-5-6mm?channable=0044a5696400313038353739e9&___store=jacksonsart_en&gclid=Cj0KCQiA8t2eBhDeARIsAAVEga1rFTEdYInRVuLv3HvY8bHZNsd3nukxoPOEu6RV3uAMcipmX7RjhtIaApOQEALw_wcB" target="_blank" title="Jackson's art">leadholder</a> is plastic, so not as heavy as some of the metal ones, but still feels very different from a pencil.</p>
<p style="text-align: justify;">I had felt that I was getting in a bit of a rut with the Window Work and not concentrating properly on what I was doing, and I was open to approaching things a little differently. The catalyst for change was a gallery visit last month which featured work by <a href="https://www.openeyegallery.co.uk/exhibitions/alberto-morrocco-obe-1917-1998-2022" target="_blank" title="Open Eye Gallery">Alberto Morocco</a>. He was a highly respected Scottish painter, of the older generation that taught me at college, but I hadn't gone to the gallery specifically to see his work.</p>
<p style="text-align: justify;">What struck me about the show was that it had a lot of functional drawing – there were sketches of musicians, obviously done in situ, and paintings that utilised them. Other drawings included written colour notes, in casual preparation for a potential painting at some later date. There were sketches of everyday things and people - fast, lean, and incomplete, but packed with relevant information. I was mesmerised by one of a donkey. It was in brown Conté crayon, a medium I'd used a lot at one point, and was just a few weighted lines - some doubled over in correction - and fingered smudges to suggest the roundness and weight of the belly. It couldn't have taken more than five or ten minutes, but was a good distillation of what a donkey is.</p>
<p style="text-align: justify;">The experience brought me back very sharply to how I used to work – right down to the colour notes thing – and the casual everyday necessity of looking and drawing in order to find out how the forms of an object work. I was reminded of the distant early paintings I had done purely from sketches and colour notes (still got some – I should really photograph them sometime). I carried my drawing habit into the furniture workshop, and still have some of the job assessment drawings I would do when addressing what had to be repaired. <a href="https://photos.google.com/share/AF1QipMQRtnfHla4QILan_94iI5_gsiKy4CNsQY3QJ1ivCGL71_LL68HogS-V9V1mt0Qfg/photo/AF1QipNRsM7nEkw4cxQDaT0JMCYwl67mrUFaAfEbHq4v?key=eEM0WVFqNXVaY1BtSXNsWS1md3I1WEJJTlJGN1dB" target="_blank" title="Google Photos">This one</a> is an Irish Chicken Coop Dresser. As usual with pine Irish Dressers chunks of cornice were missing, the bottom was entirely rotted off, and a lot of the glue dissolved after an overnight soak in the caustic tank to strip a couple of centuries-worth of paint off. (I also see from the notes that I was actually starting work at 9.30am, when I should really have been starting at 9am sharp. Oops...) A lot of this activity was swept away by the arrival of cheap digital photography, of course. The sheer convenience of capturing an accurate image in the blink of a shutter was always going to beat the effort of actually drawing for a few minutes.</p>
<p style="text-align: justify;">Anyway, the upshot has been that over the last month or so I've renewed my keenness for Window Work. I increased my sessions from a very reluctant 20/25 minutes (during which I could barely sit still) to around 40/45 minutes and up to an hour - concentrating much harder on the 'looking' while allowing myself a bit more looseness in the mark-making (I quite enjoyed using the angled hatching to help the impression of form). In particular, I've been looking more closely at gait, and trying to work out what's going on with non-stationary legs. Really easy to do with a camera, obviously, but then you end up with a frozen image, which perhaps doesn't increase any understanding of the movements involved.</p>
<p style="text-align: justify;">Which is sort of the whole point of the exercise...</p></span></div><p><br /></p> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-23224778154642047312022-12-02T10:36:00.000+00:002022-12-02T10:36:32.839+00:00Sun – Oleshky Sands<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAv9pCxM6BnkGpZxw3j3pWi3z8rvo9GOyI-mI3v3-PlNVerbAzJE5vdpPPt7zKWWaFEwsnVRlIrDLfGFGQRksZkcqTVBVYSY_kkMjhJkuDC2560XSNKny8zBf3hqawUX7aAQ4XuhEaEHwduzou6B3OvZfRBV7PIbiwIeT5opSL-P3qdO-Lugv_SS_EQ/s2500/Sun%20%E2%80%93%20Oleshky%20Sands%202500px%20300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1786" data-original-width="2500" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAv9pCxM6BnkGpZxw3j3pWi3z8rvo9GOyI-mI3v3-PlNVerbAzJE5vdpPPt7zKWWaFEwsnVRlIrDLfGFGQRksZkcqTVBVYSY_kkMjhJkuDC2560XSNKny8zBf3hqawUX7aAQ4XuhEaEHwduzou6B3OvZfRBV7PIbiwIeT5opSL-P3qdO-Lugv_SS_EQ/w400-h286/Sun%20%E2%80%93%20Oleshky%20Sands%202500px%20300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">This is the third of the 21x15cm pieces for the Open Eye Gallery's 'On a Small Scale' show.</p>
<p style="text-align: justify;">One evening a couple of months ago, I was looking at the <a href="https://www.google.co.uk/maps/@46.1489503,34.3422837,396503m/data=!3m1!1e3?hl=en" target="_blank" title="Play at Soundcloud">satellite view</a> of Southern Ukraine - an area of some intense news focus just now. I was intrigued by a huge pale anomaly on the south bank of the Dnipro River, just across from Kherson. Looking closer, and seeing the images available on streetview, I found this miraculous <a href="https://goo.gl/maps/yXE7CP4ULanLuAtz6" target="_blank" title="Play at Soundcloud">landscape</a> – the <a href="https://en.wikipedia.org/wiki/Oleshky_Sands" target="_blank" title="Play at Soundcloud">Oleshky Sands</a>. It's a sandy 'desert' - the dunes held together with scattered patches of rough grass, and peppered with clusters of random pine and birch. The local 'experts' have produced some very good quality panoramas for streetview, with some interesting skies as a bonus. Not surprisingly, it's a National Park, but - sadly - currently an occupied military zone.</p>
<p style="text-align: justify;">The composition is all about the soft light, and the soft sand. The horizon from the original <a href="https://goo.gl/maps/tNwzot7qkt2an1xFA" target="_blank" title="Play at Soundcloud">source image</a> was levelled, the centre raised a bit, and the further landscape at the edges much reduced and simplified. The finished painting probably ended up missing the overall 'violetness' of the sky, but I did have a bit of fun playing with its underlying warm and cool undertones.</p>
<p style="text-align: justify;">Technically, this was pretty straightforward. However, being fed-up indenting soft card surfaces when using crayon, the initial placings were done with a water-soluble graphite pencil. As I've just indicated, the sky is constructed with lots of thin layers. These are not true transparent glazes, but coloured 'veils' using semi-transparent Zinc White. The landscape was painted with mostly opaque pigments (e.g. Unbleached Titanium Dioxide – a usefully dull and opaque greyish beige), and the main sandy forms worked largely wet-into-wet. This was possibly an attempt to say something about the difference between solid earth and thin air by using contrasting paint qualities. Hmm. I have perhaps made the dune tufts too hard, and the atmospherics a little too fuzzy, but there we go.</p>
<p style="text-align: justify;">I should expand more on the Small Scales show. It's basically a wide variety of top-notch painters' work on sale at reasonable prices. The show is exclusively <a href="https://www.openeyegallery.co.uk/small-scale" target="_blank" title="Play at Soundcloud">online</a>. My two recent pieces are up just now, and the gallery has added a couple of my unsold ones from past years. This painting - running very late – has been varnished and is in the gallery now, and may possibly be online by the end of this week - but the fourth of the pieces may not be finished in time to be included. I'm treating it as a work-out for a larger painting anyway, so nothing's lost.</p>
<p style="text-align: justify;">Getting back to the graphite pencil, though. I'd seen some work where another painter had used water washes of graphite, and was puzzled, because in my experience graphite and water don't mix. Literally a couple of days later I was chatting with an old mate from college – an art teacher – who gently broke the news to me that water-soluble graphite pencils had been around for quite a long time actually. Which made me feel a bit silly. To cap it all, though, water-soluble graphite, on the primer anyway, seems to wash off with thinned oil paint as readily as it does with water. Which is not so good.</p>
<p style="text-align: justify;">Hoping for better luck with my next technical breakthrough, whatever that's going to be...</p></span></div><p></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8786419533938984356.post-23026449807156429182022-11-10T13:29:00.000+00:002022-11-10T13:29:08.880+00:00Mislaid Landscape<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSpz8Seoq_XbC2pXsCVdA0_usIy-QLqFTHrc3LNV7teQDMDrKDZLZlDXoP9eGsS8c0U-de-evHnPpOKFUxiEl8mvj3HO0BIjMXMUazaM3GtQ-fg5YQQ1mXiZSCjad2Ys7jx2hgpqQJAH04f1U-9QS-VMhcuIipFM1yOqX_vUreU-sUaVkrRVey2wDKA/s2500/Mislaid%20-%20Gust_blog%202500px%20@300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1787" data-original-width="2500" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSpz8Seoq_XbC2pXsCVdA0_usIy-QLqFTHrc3LNV7teQDMDrKDZLZlDXoP9eGsS8c0U-de-evHnPpOKFUxiEl8mvj3HO0BIjMXMUazaM3GtQ-fg5YQQ1mXiZSCjad2Ys7jx2hgpqQJAH04f1U-9QS-VMhcuIipFM1yOqX_vUreU-sUaVkrRVey2wDKA/w400-h286/Mislaid%20-%20Gust_blog%202500px%20@300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">This is the second postcard-sized picture for the Open Eye Gallery 'Small Scale' show. There's some music associated with painting it, though not as a mood-setter. While working on the last stages I was listening to Radiohead's first album, 'Pablo Honey', and <a href="https://www.youtube.com/watch?v=OzL7u5teZhg" target="_blank" title="youtube">this</a> happens to be the first track. Very refreshing. The whole album – which includes their breakthrough single <a href="https://www.youtube.com/watch?v=XFkzRNyygfk" target="_blank" title="youtube">'Creep'</a> - is quite raw in comparison to what they went on to produce, but you can hear where they're going.</p>
<p style="text-align: justify;">The original source image was a screenshot grabbed from google streetview. Unfortunately I have absolutely no idea where this landscape is. This is annoying, a) because I wanted to use more information from the surroundings when composing the picture, and b) to source more material with that light and landscape. The screenshot was taken when I was under the mistaken impression that the global coordinates were still being displayed (a practice discontinued some time ago). I now make sure that I have a record of a landscape's location and time, and that I can find it again. This one's got to be European, but whether it's Western Russia, France, Poland, Sweden, or Lithuania, is beyond me.</p>
<p style="text-align: justify;">(My current method of recording a location: Once in streetview, go to the little info box in the top left corner. Click the 'three dots', then click 'Share or embed image'. Either copy that on-screen link or take another screenshot of it).</p>
<p style="text-align: justify;">What I liked about this setting was the saturation and freshness of the colour and light, and the way that while the shorter trees of the group were still, the tall birch was being made ragged by quite a strong and very local gust of wind. This tree also seems to lean into the wind, which is even more interesting. The only compositional tweaking is some cropping of the source image, and some repeated and reversed copy-and-pasting of some of the original foreground grass, to hide some road surface in the bottom right corner.</p>
<p style="text-align: justify;">Colour-wise, I've used a fair bit of Cadmium Lemon in the greens to boost their intensity – a step up for me as my palette is usually fairly muted. In terms of paint handling, there's quite a lot of scratching into the wet paint in the foreground grass, and – except in the clouds - I refrained from mass blurring and softening with fan brushes. Until the last session, that is, where I had to correct some jarring and misjudged final darks in the trees, and blurred the lighter opaque greens over these hard-edged miss-steps. I wish now that I'd softened some of the red-browns of the trunks and branches – transparent glazes over the plain white bark - but there you go.</p>
<p style="text-align: justify;">This little painting probably took too long and may still be too rough, but I did learn something about widening my range of marks. Whether that gets carried forward is another matter, but all-in-all this was a useful piece to have got done. And despite being a little angsty about the trees, I'm actually quite pleased with the softness of the sky. It feels very calm.</p>
<p style="text-align: justify;">Which is nice...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-15599947721277067032022-10-20T15:22:00.000+01:002022-10-20T15:22:08.038+01:00Sky - Lipovka<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBBpzq7ag5H7wR6rBUNCNzYVh3d9djz6yaqCVLXp1JQD9EFxg8Y9eEBebFrV5qW2c2flJ8ZyyHcY9RlGvmErMBjMhoPQ73lxBtiPRdPQSeuBvL_9pQVt9cAgMtKyEG_E9ANBLSf-GJWE3OXK1pmOKc5LagiIIei_W2c2viv-DY96nBxzWmYM7rbiJPDg/s2500/Sky%20-%20Lipovka%206.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1786" data-original-width="2500" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBBpzq7ag5H7wR6rBUNCNzYVh3d9djz6yaqCVLXp1JQD9EFxg8Y9eEBebFrV5qW2c2flJ8ZyyHcY9RlGvmErMBjMhoPQ73lxBtiPRdPQSeuBvL_9pQVt9cAgMtKyEG_E9ANBLSf-GJWE3OXK1pmOKc5LagiIIei_W2c2viv-DY96nBxzWmYM7rbiJPDg/w400-h286/Sky%20-%20Lipovka%206.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15 cm
<p style="text-align: justify;">This is small postcard-sized piece, the first finished of my contributions to the Open Eye Gallery's annual Small Scale show. And I'm pleased to say that its painting went quite well.</p>
<p style="text-align: justify;">There's no particular music associated with this, though I did do a lot of catching up with Melvin Bragg's <a href="https://www.bbc.co.uk/programmes/b006qykl" target="_blank" title="BBC">'In Our Time'</a> programme from BBC Radio 4. (There is so much of interest to listen to there – explore the Archive, you won't regret it) Having said that, during the final easel session – when I was hunting the painting down, and where everything fell into place – I listened to Reinbert de Leeuw's recordings of Erik Satie's piano pieces <a href="https://www.youtube.com/watch?v=VRgLIIk8LQs" target="_blank" title="youtube">(like this one)</a>. Which connected rather pleasantly.</p>
<p style="text-align: justify;">The <a href="https://www.google.co.uk/maps/@50.9101668,39.9437823,3a,90y,281.49h,111.34t/data=!3m6!1e1!3m4!1se51fbsyVL-6MK_jGyVjAPA!2e0!7i13312!8i6656?hl=en" target="_blank" title="google streetview">source image</a> was a fairly random but lucky find when free-roaming through google streetview one evening. It's a view from a Russian motorway – the M-4 - just north of the Lipovka turn-off.</p>
<p style="text-align: justify;">Compositionally it's all about the sky (of course). The supporting landscape was flipped left/right and a little reworked, the distant hills have been enlarged, and I've shifted one of the cumulus to the right a bit. I'd taken the original screen shot probably about seven or eight years ago, and - failing to do anything with it - carried it forward year by year in my 'Cloud Studies' folder. When I finally got round to developing it and needing more info about the wider context, I found – to my horror – that I had no idea where this was. I had to go back to my original screengrab files and look for clues there. I found that I had, luckily, taken another screen shot some minutes down the road, which included a map view with a place name. As this is the only motorway in that locality, I simply tracked up and down it till I'd found the original location AND the right date. Streetview has now gathered so many shots of locations at different times, and on both sides of the roads, that it can be a bit of a jigsaw now, and the available source dates can change within yards. It is a fantastic resource, but it can be annoying when trying to trace a particular view on a specific date. I did find it though – eventually - and such was my rejoicing that I was close to making the title 'The Prodigal Sky – Lipovka'.</p>
<p style="text-align: justify;">There's nothing unusual technique-wise here – spot grids, basic crayon drawing developed lightly with Paynes Grey fluid acrylic, then oil layers. Annoyingly, the spot grid crayon had rather pressed the card and made little indentations. They're not particularly deep, but could have gathered concentrations of paint where not wanted, so I may have to re-think using crayon on the relatively soft card surfaces.</p>
<p style="text-align: justify;">All in all, I'm pleased that I finally got to grips with this image, and I think I've made a good enough stab at the higher altocumulus masses. Madam said that the lower cumulus clouds really do seem to hang in the space. Which was nice.</p>
<p style="text-align: justify;">I should just say: The date of the source image is June 2013, and all is well. It is the main arterial road from the Moscow area to Rostov on Don, and eastern Ukraine. I have no doubt that the traffic on it just now – night and day, in both directions - is grim, deadly, and tragic. This present will become the past. And whatever sky is there today will be replaced by another one tomorrow, and constantly be wonderful.</p> </span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-56011092944899508092022-08-15T15:02:00.001+01:002022-08-15T15:03:35.940+01:00Overcast – South Queensferry<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirM8Xluo-QlsGP2JPnqg0ZWx99exIg1CV8Dc5sPi5haaxk0M_Fq8XhmXWQtKVn5of9Dw58xQdvVDxfUfYNPYAuCMafTRxna2v7OBcLOUbZHSIb-ZHi2ZAzJN0H1pH85bBvjxM4QW4Xo4ER2l1BKLPMOTozxWoNKlYQLxRW3JIuZq1-TsBuXs7ngEtcmA/s4000/Overcast%20-%20South%20Queensferry%204000px%20@300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2666" data-original-width="4000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirM8Xluo-QlsGP2JPnqg0ZWx99exIg1CV8Dc5sPi5haaxk0M_Fq8XhmXWQtKVn5of9Dw58xQdvVDxfUfYNPYAuCMafTRxna2v7OBcLOUbZHSIb-ZHi2ZAzJN0H1pH85bBvjxM4QW4Xo4ER2l1BKLPMOTozxWoNKlYQLxRW3JIuZq1-TsBuXs7ngEtcmA/w400-h266/Overcast%20-%20South%20Queensferry%204000px%20@300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 30x20cm
<p style="text-align: justify;"> There is some music to go with this. Energising by playing pop and rock singles wasn't working, so I returned to back-to-back Richter for a change, and 'Infra' and 'Three Worlds: Woolf Works' got me back in the right zone. <a href="https://www.youtube.com/watch?v=W8S2CX-q7LQ" target="_blank" title="youtube">'Infra 1'</a> heralds the whole album's general swell and relax, which seemed to work with the soft lens shapes in the cloud, and the rest of the music got the steady brain rhythms and concentration going – which always helps.</p>
<p style="text-align: justify;">The source image is another (quite old now) snap from a train window, looking west. The <a href="https://www.google.co.uk/maps/@55.9770313,-3.3769071,885m/data=!3m1!1e3?hl=en" target="_blank" title="google maps">location</a> is between the two converging railways lines just south of South Queensferry – the other track is behind the lower line of trees across the field. At the time, the Winchburgh tunnel was being worked on, and my usual train had to be diverted north towards South Queensferry, where it waited for 5/10 minutes before rolling back south on the other line to rejoin the main railway further on. The two tracks enclose an isolated pastoral enclave; a small triangle of lush grass and reeded ponds bordered by industrial units, a chemical store, and motorways. There were usually sheep there, munching away, un-phased by the modern world swirling around them (The M90 is just behind the ragged tree-line in the centre – I've 'disappeared' its tall lamp posts and gantries). <a href="https://www.google.co.uk/maps/@55.9793143,-3.3757221,3a,19.4y,183.71h,88.57t/data=!3m6!1e1!3m4!1sYcId8Y89WEoSDf5-3JnM0g!2e0!7i13312!8i6656?hl=en" target="_blank" title="streetview">This</a> shows where the train was when I took the photo.</p>
<p style="text-align: justify;">I was actually searching for another landscape source I have; a similar foreground of shrubs under a much more dramatic sky, but I came across this forgotten photo first and just went with it. (I'll find the other one at some point and work it up).</p>
<p style="text-align: justify;">The sky here, in this source, was quite dull and overcast, and not even dramatically dark. I kept it that way, and it was interesting making something interesting out of something quite bland and ordinary. The painting is almost a straight lift from the source, the only changes – other than removing the lamp posts - being some shifting of the bushes and a levelling of one end of the field.</p>
<p style="text-align: justify;">Technique-wise, I decided to break with the last few years' usual tight grid placing. The careful pencil/crayon, and acrylic under-drawing went out the window too. I placed the initial picture elements in thin oil paint without a grid of any kind (a sliding card strip proportional method I used to use which I promise I'll explain at some point, but please, not now). I have to say it felt quite good and safe at this size, though for me, painting anything any bigger would really require a safer grid of some sort. Anyway, while this piece didn't quite paint itself, it didn't resist too much and I allowed myself quite a lot of freedom to play with the paint and to take my time over it, so it was actually quite enjoyable to do. Having said that, I did manage to wipe away half an afternoon's work by mistake (it wasn't as dry as I'd thought it was, obvs), but it didn't really matter, and the shrubs look better for the extra work anyway.</p>
<p style="text-align: justify;">I should also mention that I returned to my <a href="https://www.youtube.com/watch?v=ubaJi-aeikk" target="_blank" title="youtube">Fake Flake White</a> for this one. I'm sure I've covered it before but it's worth a repeat mention – if just to remind myself not to forget it again. I was checking through photos of past palettes, (yes, I photograph my finished palettes, with all the colours noted. Sorry about that, but it's quite useful sometimes) and it seems that for some unexplained reason I simply just stopped using the Fake Flake towards the end of 2019. It does actually feel a lot like Ye Olde Lead White, though, and isn't completely out the park price-wise. I've also been using some new synthetic hog brushes, and the pointed rounds are astonishing. They retain their shape beautifully, have a very responsive point, and are very pleasantly springy. It'll be interesting to see how they wear.</p>
<p style="text-align: justify;">Still on the technical stuff, I'm quite pleased with the sky. It's done almost completely with Fake Flake White and Ivory Black, with Walnut oil added. The Walnut oil makes the paint very mobile and quick - very suitable for horizontal stroke blending - as opposed to stipple blending - for which I find a sticky Stand oil mix more suitable. The greys were applied with my new synthetic round hog in soft linear, almost hatched strokes, then blended together with soft fan brushes. I built up the sky gradually over several sessions to get restrained tones and a very soft and gentle surface. Admittedly, that surface did gather a bit of cat hair on the way - it's unavoidable in this house - but nothing too major.</p>
<p style="text-align: justify;">Summing this one up, I'm happy with the painting, but the process itself felt quite good for a change, and was a boost to the confidence - possibly what I was looking for at the beginning of the year. The shift in attitude, technique, and to some extent materials, was definitely a positive one.</p>
<p style="text-align: justify;">Oh, and I've got a new bike as well. Which is nice...</p><br /> <p></p></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-26337859452208445572022-06-28T11:02:00.000+01:002022-06-28T11:02:46.977+01:00Sheep Studies<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhey-kBOfpOhV9zb-JEQR6czLbxq39LRzN4_VgSCsJlJ5k3q8fPTFAROPWmxwhgorXQ_Zzp9g1ZS7WpJ6aZx8DLnUKrO9IwwaYufyx2lV5qc9fkEaJt3a5Gydi-6z3hQQMnJJ0C4d3TNXlbqytYcqdE6E1TMPJPnGmh-DksANVLK5Jp6pFLnu0RnSkw/s4000/Sheep%20Studies%20FINAL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2267" data-original-width="4000" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlhey-kBOfpOhV9zb-JEQR6czLbxq39LRzN4_VgSCsJlJ5k3q8fPTFAROPWmxwhgorXQ_Zzp9g1ZS7WpJ6aZx8DLnUKrO9IwwaYufyx2lV5qc9fkEaJt3a5Gydi-6z3hQQMnJJ0C4d3TNXlbqytYcqdE6E1TMPJPnGmh-DksANVLK5Jp6pFLnu0RnSkw/w400-h226/Sheep%20Studies%20FINAL.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">pencil
<p style="text-align: justify;">These are a few sketches of sheep, though more accurately they are studies.</p>
<p style="text-align: justify;">Why sheep? Well I've got a couple of things on the go just now which, coincidentally, feature sheep. Not having ever drawn a sheep in earnest, I found that I hadn't a clue what makes a sheep look specifically like a sheep – as opposed to a goat, a cow, a dog, or a very small woolly horse. Of course, I've got my sources for the paintings, but I felt I needed to know more about their general characteristics.</p>
<p style="text-align: justify;">Why studies? It's one thing to recognise something, but another thing entirely to reconstruct it so as to read back correctly. The eye has to find out and inquire what makes the subject recognisable, and the best process for that is drawing it.</p>
<p style="text-align: justify;">Not having convenient live references nearby - there haven't been sheep on nearby <a href="https://i2-prod.edinburghlive.co.uk/incoming/article15908803.ece/ALTERNATES/s1200b/2_around_edinburgh_-_holyrood_park_sheep_wullie_croal.jpg" target="_blank" title="photo">Arthur's Seat</a> (just a mile away) since 1977 - a quick google image search supplied flocks of them to choose from. As expected, the initial results were pretty ropey, but I was encouraged to see that the effort was rewarded. The lower, later sketches are – if not quite the full <a href="https://i.pinimg.com/originals/69/e4/ca/69e4caf8e34cb61c9312c0c285e748e0.jpg" target="_blank" title="image">Rosa Bonheur</a> – indisputably of sheep</p>
<p style="text-align: justify;">And, no, I wasn't counting them...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-51326727586110674192022-05-23T10:40:00.000+01:002022-05-23T10:40:08.435+01:00Three Crows<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygdF8Di4CLu9zPKv-CJQNe_eFr94xYdCG54iNKOrapVQ2w2bouK0DtrCRkNDSMgx5qjI084Kr7bFuKrIa8HsMMhAu3_zQUO7O-wOz2BGqgauyGVL1RZXQb0zh-VEEEbAJCbPxgAQWn4cvooMZ_ZuTFstLoYeu5tShA_jgwjtzcggPjMDWC2Q7EKgGaQ/s2000/Three%20crows%20-Treeline%2012.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1667" data-original-width="2000" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjygdF8Di4CLu9zPKv-CJQNe_eFr94xYdCG54iNKOrapVQ2w2bouK0DtrCRkNDSMgx5qjI084Kr7bFuKrIa8HsMMhAu3_zQUO7O-wOz2BGqgauyGVL1RZXQb0zh-VEEEbAJCbPxgAQWn4cvooMZ_ZuTFstLoYeu5tShA_jgwjtzcggPjMDWC2Q7EKgGaQ/w400-h334/Three%20crows%20-Treeline%2012.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on panel 31x25cm
<p style="text-align: justify;">There is a music track associated with this – it's <a href="https://www.youtube.com/watch?v=_2vRbNehGB0" target="_blank" title="youtube">'Opening'</a> by Philip Glass. I played it as I was starting the oil layers, and its cold relentlessness seemed to fit the mood.</p>
<p style="text-align: justify;">I snapped the source <a href="https://goo.gl/maps/N6AXEYXXitcX7JNP6" target="_blank" title="google streetview">landscape</a> for this piece a while ago from the Crieff bus, but it hadn't sparked anything worth following up until I was looking for ideas in late February - around the time of the invasion in Ukraine. Seeing it again while flicking through old photos, both the movement sweeping across the landscape and the Gothic crow shapes in the trees made themselves apparent, and suggested a dreadful wind. I leant all the trees to the right to show that, and introduced the trio of crows on the left. In the trees, the beak shapes were switching about during the painting process - sometimes one, sometimes more, like infant birds screeching in the nest. It's a very odd experience when a shuffling of factors brings sudden relevance and recognition to the previously passed-over and disregarded.</p>
<p style="text-align: justify;">This is on a panel prepared some eight years ago which, luckily, I had forgotten about. 'Luckily' because I hadn't organised any surfaces to paint on during my down-time, and had felt work coming on again. It has a grey oil primer – near exactly the colour and tone of the distant low clouds, which have just the barest touch of paint on them. This ruled out any acrylic under-drawing, so objects were placed with crayon then developed directly with oil paint. I also used a different oil medium mix - Stand Oil with an increased proportion of Damar Varnish. It's very sticky, and quite unsuitable for painting large areas evenly, but it's very nice to work with on a small scale.</p>
<p style="text-align: justify;">For some reason I found it very difficult to arrive at the final tonality of the near grass and especially the 'real' crows. They are quite finely drawn (aided by a magnifying glass) and were at one point almost jet black. Their combination of sharp, focussed marks and black tones hooked the eye so quickly that I dulled them down - I now much prefer them almost hidden in the weeds. They're quite rewarding once you see them, but the down-side is that I fear the casual viewer will just stroll by the painting without bothering to look too closely. However, I'm not sure that I'm prepared, at this point, to do anything about that.</p>
<p style="text-align: justify;">On the positive side, I enjoyed doing the sky, and didn't feel too constrained to adhere rigidly to the source material. It's rather bleak and chilly but has some luminosity, in contrast to the umbrous and murky landscape.</p>
<p style="text-align: justify;">Which pangs my heart given the painting's genesis.</p></span></div><br /> <p></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-8786419533938984356.post-18967799442496310882022-04-29T10:23:00.000+01:002022-04-29T10:23:36.819+01:00Window Work - April 2022<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLeMgXWCmJQGSraDtzF_u89d2fefUfrVfdaiEEhd-hbqoAd0IP0imGyAp4qIxjDMSKCsFhPraRMTN8c5BqUoFJvRT2AR3Vwi-GQeglvL74JVHDia4eoq7dvgYOZ4p-RLPsi9zqSmdW7xaPnQIE-9O7aKHGS_IoeEqS3hDFF0a7rXSs2lWp4mVx3bumg/s4000/Window%20Work%20April%202022%201v3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2267" data-original-width="4000" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLeMgXWCmJQGSraDtzF_u89d2fefUfrVfdaiEEhd-hbqoAd0IP0imGyAp4qIxjDMSKCsFhPraRMTN8c5BqUoFJvRT2AR3Vwi-GQeglvL74JVHDia4eoq7dvgYOZ4p-RLPsi9zqSmdW7xaPnQIE-9O7aKHGS_IoeEqS3hDFF0a7rXSs2lWp4mVx3bumg/w400-h226/Window%20Work%20April%202022%201v3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">watercolour
<p style="text-align: justify;">The blog returns after a spell away for rest and recuperation. My work book logs it as a single page saying 'Break – Time Off – Art-free Zone' between Xmas and the last week of February.</p>
<p style="text-align: justify;">When I did return to planet Artwork it was aboard the good ship Window Work (of course) but I was horrified to discover that my drawing muscles had withered somewhat. My touch was clumsy and slow, and I was way, way, out of practice at looking. After much unrewarding labour at the window, I think I've got some of that fitness back, and now, occasionally, my fast sketches aren't too bad. I quite like the linear efficiency of the 'backpack girl' at the upper right, and the liquid blobs of the gulls.</p>
<p style="text-align: justify;">That apart, the normal routine has resumed. Compositions have been worked out, panels have been made and primed, and two easel pieces are currently on the go, with a third awaiting its turn. I did have a slight setback though, as just having finished the panels, I had quite a severe 'tweak' of the back. This made standing at the easel difficult for a few weeks, and for a while I was restricted to – window work! However, it's well on the mend now, which is really rather nice.</p>
<p style="text-align: justify;">Finally, out in the wider world, I have a painting (<a href="http://keithepps.blogspot.com/2021/10/herd-west-lothian.html" target="_blank" title="artwork blog">Herd – West Lothian</a>) currently selected and hanging in the RSA Open show - in the 'Greek' building on the corner of The Mound and Princes Street, in Edinburgh. It's downstairs in the Lower Gallery, and, along with the entire contents of the show, is <a href="https://www.rsaannualexhibition.org/" target="_blank" title="RSA website">online</a> as well.</p>
<p style="text-align: justify;">Nice to be back...</p></span></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-8032402575910472992022-01-04T14:44:00.006+00:002022-01-07T10:35:08.804+00:00Oryol<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgR_NbVQt0wRh57Eg830kvM-GN5Yv69pRYKS7k2YedDBbDXtFd2wFsYylOZJrzrKGp03rTGE-zdhDRUctKYvgUyT0CxhIiYk4R4tR1ACdHQK4zM3BeQxscB3BcYoL6M9IGIWiOOMggQ4D4U4m3fzVoOtNJ9PKZ5-MwPNu6BG2bLeXrCu5llbsvtmx8QxQ=s2000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2000" height="286" src="https://blogger.googleusercontent.com/img/a/AVvXsEgR_NbVQt0wRh57Eg830kvM-GN5Yv69pRYKS7k2YedDBbDXtFd2wFsYylOZJrzrKGp03rTGE-zdhDRUctKYvgUyT0CxhIiYk4R4tR1ACdHQK4zM3BeQxscB3BcYoL6M9IGIWiOOMggQ4D4U4m3fzVoOtNJ9PKZ5-MwPNu6BG2bLeXrCu5llbsvtmx8QxQ=w400-h286" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">This is the very last piece from 2021 – completed for the <a href="https://www.openeyegallery.co.uk/small-scale" target="_blank" title="small scale online">still ongoing</a> 15x21cm Small Scale show.</p>
<p style="text-align: justify;">There is a piece of music to go with it – JS Bach's <a href="https://www.youtube.com/watch?v=c8rxkDAaaJ0" target="_blank" title="youtube">Prelude and Fugue</a>: No. 1 in C Major, BWV 846, but really more the fugue (starting at 1:58). The prelude is fairly simple and straightforward, like my initial idea of how this piece would go, but the fugue then plunges into a delicate maelstrom of complication, as the actual painting rather unexpectedly did.</p>
<p style="text-align: justify;">This tiny landscape and sky is sourced directly from google streetview - the land forms broadly unaltered, while the sky was opened up a bit with a little photoshop fisheye distortion. This setting - near <a href="https://goo.gl/maps/WkGathBRLix96nyQ8" target="_blank" title="google streetview">Oryol</a>, in Western Russia - had originally been reserved for a larger painting with a figure, but I decided to use it as a small scale piece to save me the time of sourcing and working something out from scratch. Half-way through painting it I suddenly realised that there should have been an eagle up in the sky – probably in the upper left - as 'Oryol' (<i>Орёл</i>) is Russian for 'Eagle', and that would have completed the pun. Impossible at this scale though. Maybe another time.</p>
<p style="text-align: justify;">Technically this followed my current standard initial procedure – crayon for spot-gridding and landscape placing, then thin fluid acrylic for landscape tonal grisaille. The main sky forms were placed in thin oil, and the whole built up with oil layers. I probably could have developed the opaque/transparent work in the sky a lot more, but I felt very much under time constraints to get this finished. As it is, it's more like a watercolour than an oil painting – which is fine – but I feel that this had the potential to be a more interesting piece.</p>
<p style="text-align: justify;">To add to the already quite high tension, I completely mucked up the varnishing, resulting in a thick wrinkled splodge along the left centre of the sky. So it all had to come off. The final paint touches had only been left a week to cure (a perilously short time), and I was terrified that the varnish's white spirit solvent would take some of the paint off too. A clean white muslin cloth was laid flat over the surface, evenly sprayed with white spirit, then overlaid with a sheet of thin white bin liner. After about ten minutes the varnish re-liquified (as it's designed to), and the cloth was carefully peeled off. That brought a lot of dissolved varnish with it, and, miraculously, the paint was undisturbed. The remaining wet varnish was removed lightly with rolled cotton wool swabs (like real picture restorers do on the telly) and small muslin cloth pads, all with no sign at all of any colour coming off. A couple of subsequent (very light!) sprays of varnish next day went on perfectly, with no beading or irregularities at all. Phew.</p>
<p style="text-align: justify;">Incidently, a more basic plastic sheet & solvent technique – a methylated spirit soak under a black bin bag, then wiping off the old paint with paper towel or ultrafine steel wool – is excellent for cleaning used palettes. Meths softens both dried oil and acrylic paint, and this method saves a lot of dry scraping, though I'm not sure how this works with Alkyd resin based products or mediums.
(I've been wanting to shoehorn this little nugget into a post for ages.)</p>
<p style="text-align: justify;">All that tension with the varnish apart, I did enjoy the freedom I allowed myself in the sky. It might be rewarding to develop ('indulge in'?) that a bit more. We shall see.</p>
<p style="text-align: justify;">However, I will be taking my time about getting back to the artwork. I'll be aiming - as far as possible - to be driven by creativity rather than time-table, and I'm not planning on having anything done this January. This first post of the new year is carried over from last December purely for the sake of a bit of continuity.</p>
<p style="text-align: justify;">Which reminds me – I hope that 2022 is a more positive and 'straightforward' year than the last two have been. Not just for me, but for everyone out there, whatever you're doing...</p></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-72208470756288935122021-12-07T15:38:00.000+00:002021-12-07T15:38:23.993+00:00Low Blue - Huntingtower<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Zl1QgvZiCOE/Ya9-9wTsGXI/AAAAAAAAQvg/yNCYCdvgjMsZF7yYZtqi8-WFHNdda7jgQCNcBGAsYHQ/s2000/Low%2BBlue%2B-%2BHuntingtower%2B2000px%2B%2540300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2000" height="286" src="https://1.bp.blogspot.com/-Zl1QgvZiCOE/Ya9-9wTsGXI/AAAAAAAAQvg/yNCYCdvgjMsZF7yYZtqi8-WFHNdda7jgQCNcBGAsYHQ/w400-h286/Low%2BBlue%2B-%2BHuntingtower%2B2000px%2B%2540300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">I needed a fast, uncomplicated small composition for one of my Open Eye Small Scales (21x15cm), and this really fitted the bill. It's a composite of a couple of snaps taken a minute or so apart along the A85 westwards from Perth – the sky and right trees from <a href="https://goo.gl/maps/dKVFa1xXPfFzJo3K6" target="_blank" title="google streeview">east</a> of West Huntingtower, and the left trees and landscape from <a href="https://goo.gl/maps/gEEURktVFeKjCkFA9" target="_blank" title="google streetview">west</a> of West Huntingtower (a small village near <a href="https://goo.gl/maps/C8cimSWcpc4jvw2K9" target="_blank" title="google streetview">Huntingtower Castle</a>).</p>
<p style="text-align: justify;">I don't actually remember the composing bit, but I think I threw the two sources together fairly rapidly and quite possibly late at night. I seem to have mistakenly deleted the series of composition files made putting it together – which is annoying.</p>
<p style="text-align: justify;">This is the first painting I've done in a while using a grey primer. It seemed a very good idea as the piece had to be done very fast, and was going to be quite dark overall anyway. I had seen that Michael Harding had introduced a new grey acrylic primer so, this was an opportunity to try it out. After the initial setting out and quite a cursory fluid acrylic development stage, a lot of the oil paint was opaque right from the start. The initial landscape mixes were Oxide of Chrome Green, Mars Black, and Unbleached Titanium Dioxide – all very opaque pigments. Likewise the sky was built with Titanium White onto the grey priming, with tints of blue and modifying thinner patches of whites and dark greys. The low blue band was a few finely-stippled and increasingly dense layers of semi-transparent, Damar varnish heavy, Ultramarine and Zinc White mix.</p>
<p style="text-align: justify;">The grey primer was a pleasant change. It's very densely pigmented, covers easily, and is sold as being very non-absorbent – so that oil colours won't go flat when drying (I didn't notice any difference to be honest). What's very interesting is that instead of using chalk for its filler it uses marble dust, so it has a very fine but quite definite 'tooth' to it. Not that that was a particular plus for me – I like a smooth, nearly polished surface – but it's interesting to notice it.</p>
<p style="text-align: justify;">If you think you've heard the name 'Huntingtower' before, it may be because it's the title of a novel by John Buchan. I can't say I've ever read the book, but I did hear a very enthusiastic BBC radio drama adaption years ago, which might even have been in stereo.</p>
<p style="text-align: justify;">There's really not that much more to say about this one except that it was quite efficiently done, and that I took a great deal of pleasure in exaggerating the Low Blue band above the skyline.</p>
<p style="text-align: justify;">That's two Small Scales now in the Open Eye. The <a href="https://www.openeyegallery.co.uk/small-scale" target="_blank" title="open eye gallery">online-only</a> show has been up on the website for a while now - nearly three hundred at a time – and I expect mine will join the rotation shortly. Once my third one is finally finished and delivered, I'm going to take a break for a few weeks, or more, to recharge my drained-out ArtyBatteries.</p>
<p style="text-align: justify;">Meanwhile have a good Festive Holiday and New Year. I hope we all have better times and fewer worries in 2022, and that the Greek Alphabet remains as obscure as it always has been for most non-classicists.</p></span></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-67351765964766811402021-11-24T14:54:00.000+00:002021-11-24T14:54:56.830+00:00French Mist<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JuSDQogCu18/YZ4XK2NKvnI/AAAAAAAAQtA/b79B43Zewzg13JjdeZhQXQ3cUzSbt878ACLcBGAsYHQ/s2048/French%2BMist%2B2500px%2B%2540300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1462" data-original-width="2048" height="285" src="https://1.bp.blogspot.com/-JuSDQogCu18/YZ4XK2NKvnI/AAAAAAAAQtA/b79B43Zewzg13JjdeZhQXQ3cUzSbt878ACLcBGAsYHQ/w400-h285/French%2BMist%2B2500px%2B%2540300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 21x15cm
<p style="text-align: justify;">This is the first of my three contributions to the annual Open Eye Gallery Christmas Small Scale show – all pieces being 21x15cm. It's a composite of two locations, not very far apart, in the Pas de Calais. The sky and the central wood are from near <a href="https://goo.gl/maps/FFesiGGV2s8pxicb8" target="_blank" title="google streetview">Longuevillette</a>, and the more distant <a href="https://goo.gl/maps/rqzsxTGnsy49dzvA8" target="_blank" title="google streetview">features</a> are from further up the road. The landscape is very typical of the area, but I wanted to fix it unmistakeably in France, so – short of erecting a flagpole and raising a tricolore – I plonked a yellow <a href="https://en.wikipedia.org/wiki/Citro%C3%ABn_2CV" target="_blank" title="wiki">Citroën 2CV</a> in the field.</p>
<p style="text-align: justify;">Technique-wise – the sky involved much atmospheric stippling (with a thinned Stand Oil medium), and a lot of fine fading on-and-off with a small cloth-covered pad. The tiny car was, while not a nightmare, quite tricky to do - needing close work with a fine pointy brush and magnifying glass – but I think I've got away with it.</p>
<p style="text-align: justify;">I'm absolutely not a car buff, the 2CV – or 'deux chevaux' – is instantly recognisable, even to me. It's a classic, akin to the Volkswagen beetle, and mass produced at about the same time. Like the VW Beetle, it was designed as an affordable popular car for the masses. However, as France is a largely rural country the 2CV was designed primarily for getting farmers and their produce reliably to markets along country roads and rough tracks. One design criterion was that drivers should be 'able to transport eggs across a freshly ploughed field without breakage'. The car was produced for over forty years from many different factories – including one in Slough, England. Indeed, the Royal Navy bought some for the Marine Commandos – the 2CV being light enough for helicopter transport and robust enough to cope with jungle tracks (I'm assuming during the 1950's Malayan Emergency). Which surprised me.</p>
<p style="text-align: justify;">I had meant to draw a line under the Open Eye show quite firmly this month. That exhibition, with nineteen pieces in total, is done now (two of the small sky paintings sold. Which is nice, but could've been better) but such was the unusually low footfall that the gallery are giving the November painters (Tom Mabon, Paul Barnes, and myself) a combined extension in the back room for December. <span style="text-align: center;">There will be fewer paintings each, but I'm certainly not
complaining.</span></p>
<p style="text-align: justify;">There was also an unexpected addition to the show in the form of a poem, written by Morna Burdon. She's an actor, writer, poet, and director, who is also one of our upstairs neighbours. I'd invited her along on the first Saturday, and she wrote this poem about the work and being in the gallery that afternoon. I thought it was marvellous. Here it is, titled and signed, and spaced as in the original -</p><div style="text-align: justify;"><i><br /></i></div><div style="text-align: justify;"><i>A response to the exhibition by artist Keith Epps – Open Eye Gallery, Edinburgh 30th October 2021.</i> </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">White</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Clouds</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Palette blue skies</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">perfect</div><div style="text-align: justify;">distractions</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Idyllic geese</div><div style="text-align: justify;">A dog alert and innocent</div><div style="text-align: justify;">Arles-like fields of hay</div><div style="text-align: justify;">Gentle moss green trees</div><div style="text-align: justify;">A dead child</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">No time to catch breath</div><div style="text-align: justify;">To turn away</div><div style="text-align: justify;">Upper body casually displayed</div><div style="text-align: justify;">Disturbed</div><div style="text-align: justify;">dismayed</div><div style="text-align: justify;">At this calamity</div><div style="text-align: justify;">On to the warm calm of gentle yellow fields</div><div style="text-align: justify;">What harm could....</div><div style="text-align: justify;">But then it does</div><div style="text-align: justify;">There</div><div style="text-align: justify;"> There</div><div style="text-align: justify;">And there again</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">We</div><div style="text-align: justify;">They</div><div style="text-align: justify;">We</div><div style="text-align: justify;">They</div><div style="text-align: justify;">Stand</div><div style="text-align: justify;">Speak</div><div style="text-align: justify;">Laugh</div><div style="text-align: justify;">Enjoy</div><div style="text-align: justify;">Incline</div><div style="text-align: justify;">Examine the cost</div><div style="text-align: justify;">Drink blood red wine</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Within pure white walls</div><div style="text-align: justify;">Soldiers trudge</div><div style="text-align: justify;">Contentedly away</div><div style="text-align: justify;">From rape and pillage and death</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">A parcel</div><div style="text-align: justify;">Wrapped in crushed brown paper</div><div style="text-align: justify;">Tied with light beige </div><div style="text-align: justify;">String</div><div style="text-align: justify;">Secures a happy exchange</div><div style="text-align: justify;">Lips red</div><div style="text-align: justify;">And smiling</div><div style="text-align: justify;">And pleased</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The clouds darken</div><div style="text-align: justify;">The child's body flops once more</div><div style="text-align: justify;">From beneath the protective shadow of the guilt-filled hedge.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Outside, the sun shines </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"> MORNA BURDON, NOVEMBER 2021</div><div style="text-align: justify;"><br /></div><p style="text-align: justify;">The gallery thought it was wonderful, and had it printed out and put on the wall. The 'child's body' refers to the figure in <a href="http://keithepps.blogspot.com/2016/04/landscape-with-shadows.html" target="_blank" title="artwork blog">'Landscape with Shadows'</a> (which was added to bulk the show out). She really gets what the paintings are about, and I think the poem greatly added to the room.</p>
<p style="text-align: justify;">Which has taken us a long way away from a car in a misty field in Northern France.</p></span></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-23902947239933612152021-10-29T16:48:00.001+01:002021-10-29T16:48:25.239+01:00Herd – West Lothian<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VSURLP0tXGM/YXwWwNTSYgI/AAAAAAAAQh8/FhyGqxQu5r03R1spq9Mi1CDXu51eyhWUgCLcBGAsYHQ/s2000/Herd%2B-%2BWest%2BLothian%2B2000px%2B%2540300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="2000" height="240" src="https://1.bp.blogspot.com/-VSURLP0tXGM/YXwWwNTSYgI/AAAAAAAAQh8/FhyGqxQu5r03R1spq9Mi1CDXu51eyhWUgCLcBGAsYHQ/w400-h240/Herd%2B-%2BWest%2BLothian%2B2000px%2B%2540300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on panel 75x45cm
<p style="text-align: justify;">This is the final painting for the Open Eye Show. It's another view from a train, of Binns Hill - just East of Linlithgow.</p>
<p style="text-align: justify;">The sky is broadly as in my original photo, but the <a href="https://www.google.co.uk/maps/@55.9785557,-3.5571644,3a,15.1y,58.34h,89.1t/data=!3m6!1e1!3m4!1skfYEMUy_t1e5AjrdKWBhbA!2e0!7i13312!8i6656?hl=en" target="_blank" title="google streetview">landscape</a> has been flipped left to right - enabling an upward sweep across the panel. A dark cloud moving in from the left was painted out, and the wooded rise on the right is invented. The dark cloud was replaced (I couldn't get away from it looking like a pointing hand – which looked ridiculous) with some vague altocumulus clouds from elsewhere and the second rise is a selective cut-and-paste from the left hill, woods and all. The landmark tower has been disappeared.</p>
<p style="text-align: justify;">The cows were in the original source photo too, but they have been multiplied, shifted, and rearranged in order to gather interest towards the left, and fade interest towards the right. The tiny figures behind the wall are taken from photos of American gangland murders – difficult to source and select, but a lot easier than wading through swathes of atrocity images.</p>
<p style="text-align: justify;">My initial intention was to construct the sky with transparent layers on the white priming, while the landscape features were to be drawn in black fluid acrylic, then semi-obscured by a mid-grey layer which would kill off the white priming. That plan went off-course fairly quickly. While the landscape plan worked – quite well, actually - the sky went very thick and very murky very quickly, and I lost control of the cloud forms. This necessitated an even, semi-transparent, white layer over the entire sky, and a rebuilding of the cloud forms in grey monochrome, with final blue tinting overlays. The whole thing, frankly, turned into both a bit of a slog, and a race to get the damned thing finished in time to be dry enough for the show.</p>
<p style="text-align: justify;">I think it's turned out all right though, and there's a nice soft glow to the sky, but a special mention has to go to the cows. There are sixteen full cows here – seventeen if you count the half-obscured one fifth from the left. Drawing cows that look like cows – and not like horses or pigs – is tricky at this scale, and I think I've done quite well here.</p>
<p style="text-align: justify;">This painting was actually finished on the 27th September but I've deliberately delayed posting this blogpost in order to include some post-production, pre-delivery stuff. The most important of which was the varnishing.</p>
<p style="text-align: justify;">This was somewhat fraught due to the fact that my preferred finish turned out to be unobtainable in the uk. All Winsor & Newton's production is done in France now, so I presume there's a container full of W et N's Professional Satin Varnish Spray just sitting in a lorry park somewhere. I managed to stumble – in rising cold panic – through a series of sprayed and brushed-on gloss varnishes, finishing with a couple of light modifying layers of an unknown brand satin spray. The finishes aren't too bad I think, with only a minimum of cat hair in the brushed-on layer, and you would never know that I had managed to scratch (stray fingernail), and then fix, two of the paintings in the process. Not saying which ones.</p>
<p style="text-align: justify;">Pre-show tension is a strange phenomenon, and this time it manifested itself in my being locked into two random previously-unknown songs - Richard Thompson's <a href="https://www.youtube.com/watch?v=JYSz6XSS9s0" target="_blank" title="youtube">'I misunderstood'</a>, heard on the radio, and Brandi Carlile's <a href="https://www.youtube.com/watch?v=o8pQLtHTPaI" target="_blank" title="youtube">'The Story'</a> off the telly. I simply couldn't get them out of my head – especially the latter, which I actually dreamt about after the first hearing. This is not the first time this sort of thing has happened – prior to the show two years ago I had a trapped song fragment going around my brain. I hadn't a clue as to what it was or where it had come from – I still don't - it just filled my head. At least I could identify these two, and they were actually pretty good. Which was some relief, and make of that what you will.</p>
<p style="text-align: justify;">Anyway, all the paintings ended up safely wrapped (only just - the very last bit of my roll of bubblepack, right down to the cardboard core, was exactly enough for the last two small pieces!), and we carefully taxied them down to the gallery. The day after that my watch stopped, the battery run down. Phew.</p>
<p style="text-align: justify;">So, as if any regular readers needed reminding, the show is at the Open Eye Gallery, on the corner of Abercrombie Place and Dundas Street, Edinburgh, until 4pm Saturday 20th November, and is on-line <a href="https://www.openeyegallery.co.uk/" target="_blank" title="Open Eye site">here</a>. Those wanting to visit should be aware that numbers within the gallery are currently restricted to between eight and fifteen, and face masks must be worn.</p>
<p style="text-align: justify;"><i>Madam and I just back from having a sneaky look today. They've done a smashing job hanging it, the show looks great, and it's been boosted with just a couple paintings from the last show. Which is fine, they deserve a second shot</i></p>
<p style="text-align: justify;"><i>If you're coming along, my show is in the room on the right as you go in, but make sure you take in Tom Mabon and Paul Barnes' work while you're there.</i></p> </span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-81311167155772633652021-09-29T10:48:00.001+01:002021-09-29T10:48:56.373+01:00Ruigendijk<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-G-ZtiYOk4AM/YVQ18SzfKSI/AAAAAAAAQeY/AcqxmJFALPYiDQc6FnbVy-Q8RIZjWyzrwCLcBGAsYHQ/s2048/Ruigendijk%2B2500px%2B%2540300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" height="250" src="https://1.bp.blogspot.com/-G-ZtiYOk4AM/YVQ18SzfKSI/AAAAAAAAQeY/AcqxmJFALPYiDQc6FnbVy-Q8RIZjWyzrwCLcBGAsYHQ/w400-h250/Ruigendijk%2B2500px%2B%2540300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 32x20cm
<p style="text-align: justify;">There is some music for this - it's Glenn Gould playing JS Bach's <a href="https://www.youtube.com/watch?v=qo6VfM0PSlQ" target="_blank" title="youtube">Goldberg Variations</a>. I hadn't played it for a while, but I put it on while laying down the initial placings. I listened to it a few more times during subsequent work sessions, and my last touches on this painting were placed just as the final Aria repeat finished. Which was very affecting.</p>
<p style="text-align: justify;">The source images for this little painting – via google streetview – are from a short stretch of road called <a href="https://goo.gl/maps/QVMXdP9ZHXgNQPbc6" target="_blank" title="google streetview">Ruigendijk</a> on the island of Texel, off the Netherlands coast. I'd played around with this sky and location years ago, but this time finally got around to making something worthwhile. The sky is virtually unchanged – just the small top right cumulus shifted left a bit - but the landscape uses features from several viewpoints, copied and pasted, flipped and stitched, and generally juggled about to make something that works.</p>
<p style="text-align: justify;">This is definitely a painting of two halves. In the sky, the paint is soft, and finely faded and blurred. On the landscape it's much more energetic (for me!), and the brush marks, streaks, and scratches are largely left alone to do their thing - I think I was trying to convey the energy of the wind coming in across the North Sea. While this one didn't quite paint itself, it was very compliant indeed, and I think I'm quite pleased with how it went.</p>
<p style="text-align: justify;">A little more about the Goldberg variations. They were commissioned by an insomniac Russian ambassador to the court of Saxony, and were written for his harpsichordist – Goldberg - to play when the gentleman couldn't sleep. The whole story is best read <a href="https://en.wikipedia.org/wiki/Goldberg_Variations#Composition" target="_blank" title="wikipedia">here</a>. I have to say that they suit the piano a lot more than their original instrument. I'm sure that Herr Bach would have used the piano had he been able, but unfortunately he had yet to see and play one. <a href="https://en.wikipedia.org/wiki/Glenn_Gould" target="_blank" title="wikipedia">Glenn Gould</a> recorded these variations twice – in 1955 and 1981. This is the second, magnificent, 1981 recording. If you can hear humming, it's Gould himself – he had a compulsion to hum along, and no engineer was successful in blocking that out. It's about fifty or so minutes long, and is basically thirty very different treatments of the opening theme. It's worth listening to in full at some point, though preferably not on scratchy vinyl interrupted by the odd youtube advert. I'm pretty sure this recording is on Spotify and Amazon etc.</p>
<p style="text-align: justify;">Finally, exhibition news. The last panel painting has just been finished, so now it's make sure, or rather hope, that everything's dry enough to varnish a week or so before they leave the house for the gallery. The exhibition goes 'public' on Saturday the 30th October, till the close of Saturday 20th November. It's already up on the <a href="https://www.openeyegallery.co.uk/exhibitions/list" target="_blank" title="gallery site">'Exhibitions'</a> page now – with fellow landscapist <a href="https://www.openeyegallery.co.uk/artists/tom-mabon" target="_blank" title="gallery site">Tom Mabon</a>. There won't be a formal all-comers Preview – with wine and much back-slapping (or should that be the other way around?) - but I'll try to make a point of being about the gallery on the Saturday, or in the 'New Town Fox' eatery across the road - nice cake there if I remember rightly. Again, the show will be at the <a href="https://goo.gl/maps/g53kqf3id6tspXW96" target="_blank" title="google streetview">Open Eye Gallery</a>, Edinburgh, and here's their <a href="https://www.openeyegallery.co.uk/" target="_blank" title="gallery site">website</a> with all the details you might need.</p>
<p style="text-align: justify;">Oh, and if you're coming along, remember to bring a face covering...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-50350426470704750282021-09-16T16:43:00.000+01:002021-09-16T16:43:14.128+01:00Zaytsevo<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZiUZUuYY3gw/YUNlcqNamcI/AAAAAAAAQbQ/XWhKfOiSVrEXyBn6D_8H8pevRjYnQMC9ACLcBGAsYHQ/s2048/Zaytsevo%2B2500px%2B%2540300dpi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-ZiUZUuYY3gw/YUNlcqNamcI/AAAAAAAAQbQ/XWhKfOiSVrEXyBn6D_8H8pevRjYnQMC9ACLcBGAsYHQ/w400-h266/Zaytsevo%2B2500px%2B%2540300dpi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 30x20cm
<p style="text-align: justify;">That's the first of the last three pieces for the fast-approaching exhibition done. It was finished last week as it happens, but as blog posts are second priority at the moment I've left writing it till just now while the surfaces on the other two are settling.</p>
<p style="text-align: justify;">The <a href="https://www.google.co.uk/maps/@53.6487008,36.0643889,3a,73y,33.05h,104.7t/data=!3m6!1e1!3m4!1soK0nsBHsuhASfdD1PTei5g!2e0!7i13312!8i6656?hl=en" target="_blank" title="google streetview">source</a> image for this piece is of, course, from google streetview. It's just outside Zaytsevo - a tiny village at <a href="https://goo.gl/maps/vCx2iv8UCyZCeWam9" target="_blank" title="google streetview">the end of a bus route</a> - in western Russia. There has been much alteration and divergence away from the original source. I've levelled the valley, removed the road, shuffled the trees around, and given the landscape a completely different sky. What looks here like a solid clump of trees is in fact the front end of quite an elongated wood. I suspect that there's a spring in the middle there somewhere, possibly even a small pond. Further away in the distance, there are pale circles in the ground which I first assumed were exposed soil or sand. Surprisingly, they're actually round patches of a different grass. I can't imagine how that came about.</p>
<p style="text-align: justify;">I'm very happy with the blue of the sky in this one – a first thin layer of Ultramarine and Prussian Blue, then a faded layer of Ultramarine with a touch of Paynes Grey towards the top. I'm still a bit hesitant about cirrus clouds, I should probably try to be a bit more relaxed about them, and enjoy them more. Cirrus clouds remind me of some of the marks made by professional decorators when graining and marbling. I did quite a bit of that when in the antique trade – making sometimes quite sweeping marks with ragged brushes and torn cardboard edges. The really good stuff is done using goose or swan <a href="https://www.youtube.com/watch?v=J5iSmq5jwuU" target="_blank" title="youtube">feathers</a>, but I never got the hang of that.</p>
<p style="text-align: justify;">I was quite good at painting rosewood and satinwood though – just as well, because as the Edinburgh New Town developed, a lot of Georgian and Regency furnishings suddenly had to be built to fill it, and, centuries later, I had to fix and refinish quite a lot of them. Not everyone then could afford actual rosewood or satinwood (the trendiest timbers of the period), so the doors, panels, and chairs etc were made of pine, beech, or birch, then painted to resemble the classy stuff. Grained and painted furniture became quite a trendy thing across Europe in the late 18th and early 19th centuries, and again in the 1980's (luckily for me). When the Director of the Scottish National Gallery re-fitted the Gallery with antique furniture he bought a fair few pieces from a dealer I did a lot of work for, and some of those console tables and chairs in there were restored and finished by yours truly.</p>
<p style="text-align: justify;">That little tangent apart, this piece generally went quite well but had a rather frantic last session – a final blue tint glaze over the foreground went on too heavily, and I had to frantically take it off with paper towel and clean soft brushes. Luckily, I got most of it off while not removing too much of the lower layers. Phew...</p>
<p style="text-align: justify;">Right, exhibition update. The show opens to the public on Saturday 30th October till Saturday 20th November. I'm not up on the gallery future show list yet, but best keep an eye on the Open Eye Gallery <a href="https://www.openeyegallery.co.uk/" target="_blank" title="Play at Soundcloud">website</a> for developments. More news next blogpost...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-36836745806036773372021-08-26T09:59:00.000+01:002021-08-26T09:59:22.812+01:00Window Work – August 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kASJEgScoEU/YSdXM8PuRJI/AAAAAAAAQQo/ehj16NKl3IwS_Sv8Re9zLGOENl46JV9TgCLcBGAsYHQ/s2048/Window%2BWork%2BAugust%2B2021%2B1v6%2BFINAL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1161" data-original-width="2048" height="226" src="https://1.bp.blogspot.com/-kASJEgScoEU/YSdXM8PuRJI/AAAAAAAAQQo/ehj16NKl3IwS_Sv8Re9zLGOENl46JV9TgCLcBGAsYHQ/w400-h226/Window%2BWork%2BAugust%2B2021%2B1v6%2BFINAL.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">watercolour and pencil
<p style="text-align: justify;">Window Work again I'm afraid, though for a good reason. More about that further down</p>
<p style="text-align: justify;">Meanwhile, here we are with some live fast drawings. Despite my dip in success rate recently, I think a couple of these are quite good. I particulary like the pencil sketch of the old chap under the umbrella and his hatched tonal indications. I quite like the sheer economy of the marks in the very foreshortened person seen from above – there's just enough to let you know what's going on.</p>
<p style="text-align: justify;">I'm breaking my pattern of work for the next couple of months. Instead of working towards having a finished piece each month, I'm aiming to have the three I'm currently working on finished by the beginning, or middle at the latest, of October. The reason is that I've got a show opening at the end of October for November - at the Open Eye Gallery, in Dundas Street in Edinburgh. That's the same gallery where the last one was in September 2019. I don't want to rush these three at this point – it would be much wiser to get them done well together, rather than finished serially just for the sake of a self-imposed arbitrary timetable.</p>
<p style="text-align: justify;">I'll give out more details about the show in the next blogpost. It looks like the Covid is on the prowl again in Scotland just now, and there is a possibility (remote as I write, but these things can change quickly) that some restrictions could be re-imposed, and that could impact on how to visit the gallery to see the show.</p>
<p style="text-align: justify;">Fingers crossed for a live – and unrestricted – exhibition...</p></span></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-70709776301069210542021-07-31T14:23:00.000+01:002021-07-31T14:23:42.586+01:00Plantations - Gala Water<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-bQn65reqzpk/YQVOQ-WbH4I/AAAAAAAAQKo/tLhuO6er-S0cd26ug1ma-Mi3uRlQSEmwgCLcBGAsYHQ/s2000/Plantations%2B-%2BGala%2BWater%2B2000pxi.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1286" data-original-width="2000" height="258" src="https://1.bp.blogspot.com/-bQn65reqzpk/YQVOQ-WbH4I/AAAAAAAAQKo/tLhuO6er-S0cd26ug1ma-Mi3uRlQSEmwgCLcBGAsYHQ/w400-h258/Plantations%2B-%2BGala%2BWater%2B2000pxi.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 31x20cm
<p style="text-align: justify;">There's a music track to go with this - <a href="https://www.youtube.com/watch?v=5-IxkvaXlzE" target="_blank" title="youtube">Return 2 (song)</a>. It's quite a repetitive trancey piece, but if you get it going just now I'll come back to the why later. Meantime, this painting's image source was a photo I took a few years ago while on the Borders Railway, which runs alongside the main road through the Gala Water valley to Galashiels. The precise viewpoint is not far south of the Heriot A7/B709 junction, a few miles into the Southern Uplands, almost <a href="https://www.google.co.uk/maps/@55.7448006,-2.9196115,3a,15.2y,303.65h,90.74t/data=!3m6!1e1!3m4!1sUFzIMmt8wqJZt_Ye6P7oNQ!2e0!7i13312!8i6656?hl=en" target="_blank" title="google streetview">here</a>.</p>
<p style="text-align: justify;">The initial composition was put together very fast, which led to several problems I should have worked out before starting. It was originally all about the interesting shapes of the fir plantations within the valley, but I misinterpreted my single photograph, and began pursueing a series of rather panicky solutions in trying to fix it. Helpfully, there were some streetview sources very close to where the original photo was taken, which presented more information and some new options. Deciding not to slice a couple of centimetres off the bottom edge of the picture, I shifted the foreground grass-line and shrubs up a centimetre or so to flatten the problematic middle distance area in front of the trees and the valley. I had by now lost control of the tones and was become a little desperate. After a good long sit-down and think, my decisive remedy was to darken the entire landscape with a neutral Ultramarine/Raw Umber glaze, and it was at this point (I was playing some of Richter's hypnotic epic 'Sleep') that 'Return 2' began. As the landscape fell under shadow, the sky above it began to glow and open up; the blue became more intense, the clouds became animated, and the unhappy painting began to breathe easier and nodded me towards an alternative conclusion. The sky – that just happened to be there at the time – presented itself as the interesting thing, and the new overall darker tone let me get away with a much more two-dimensional landscape. Bacon gratefully saved, or at least not gone to waste. (And having said all that, there's some quite effective scratched paint in the foreground grass line)</p>
<p style="text-align: justify;">Thinking about it now from the safety of having finished it, if I was to do this piece again (I won't), I would probably have kept the same proportions, but would have stretched the landscape down to deepen the 'bowl' of the valley, and steepen the curve of the wood that describes it; an easy thing to do in photoshop. That may have made the near grass line (with its quite effective scratched paintwork) and shrubs unnecessary. Maybe not, but at least I would've tried it out first before committing to it. I might even have realised how potent the sky was right at the beginning.</p>
<p style="text-align: justify;">As my art teacher at school, Mr Knight, told me several times - 'Work an idea out to destruction or until it doesn't work, then do what worked just before that'.</p>
<p style="text-align: justify;">Hmm. Flippin' know-it-all art teachers. Never there when you need them.</p>
<p style="text-align: justify;">Now, some interesting stuff. The <a href="https://en.wikipedia.org/wiki/Borders_Railway" target="_blank" title="wiki">Borders Railway</a> runs from Edinburgh to Galashiels, with a slightly anti-climactic terminus at Tweedbank. It was one of the swathe of railway lines culled in the late 1960s, but was rebuilt by the Scottish Government after a long campaign. When it opened in 2015 its popularity was found to have been somewhat underestimated – it is single track for a lot of its length and is usually quite full. It's also a pity that it didn't quite make it the two miles further to Melrose - an already developed tourist town with a fine abbey (ruins, unfortunately, like the other Border Abbeys, but that's another story). Once you're out of the Lothian ex-mining towns – Newtongrange, Gorebridge – the line rises into the hills proper, where it's flanked by medieval castles. The train crosses and re-crosses the river and road going south, the turns and valley sides getting tighter and steeper as the line approaches Galashiels. There are, apparently, plans to extend the line to Melrose proper, and eventually to Hawick, and thence to join the main West Coast line at Carlisle. Something very much to look forward to.</p>
<p style="text-align: justify;">I just hope they work it all out properly before building it...</p></span></div><div style="text-align: justify;"><br /></div> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-56507199169521287802021-07-01T11:44:00.001+01:002021-07-01T11:49:02.919+01:00Six Geese – Krasny<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-35WuHb6wT40/YN2b6zEUUAI/AAAAAAAAP98/9_Y4iXKp6rk-2CTAVdCPuG1BBBTarX2zwCLcBGAsYHQ/s2000/Six%2BGeese%2B-%2BKrasny%2B2000px.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1340" data-original-width="2000" height="268" src="https://1.bp.blogspot.com/-35WuHb6wT40/YN2b6zEUUAI/AAAAAAAAP98/9_Y4iXKp6rk-2CTAVdCPuG1BBBTarX2zwCLcBGAsYHQ/w400-h268/Six%2BGeese%2B-%2BKrasny%2B2000px.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on panel 91x61cm
<p style="text-align: justify;">There is most definitely music to go with this - a short but exquisite little <a href="https://www.youtube.com/watch?v=pGWDqSrJU4c" target="_blank" title="youtube">piano prelude</a> by Scriabin.</p>
<p style="text-align: justify;">The <a href="https://goo.gl/maps/MWvrxQEJSvkzaQUK9" target="_blank" title="google streetview">location</a> of the source image for the painting is a small village strung-out over a mile or so called Krasny, about 35 miles south-west of Rostov-on-Don, in Southern Russia. It's a calm and serene evening in September, and the geese are wandering back in from the fields. The main village is further along the road towards the sun, where other flocks of geese have gathered and some family's cow is wandering about. It's quite the Arcadian rural idyll. The painting is, of course, about the contrast between a beautiful setting and a nastiness within it.</p>
<p style="text-align: justify;">Compositionally, it's fairly simple, and is little changed from the source image. I've replaced the telephone pole with a figure, and have juggled the geese a bit (one was a hen facing the wrong way, and that would never do!). Otherwise it's a straight transcription of the source. The light was a big attraction: the low sunlight is just catching the trees, and the geese are walking directly into it. It's a very useful device to channel the eye's sweep across the picture, and I quite like the geese being at the intersection of the crop marks and the direction of light.</p>
<p style="text-align: justify;">Hopefully the eye explores the landscape and birds before it settles on the figure. I've tried to blurr him a bit into the grass and shadow, except where he has a hard edge against some lighter grass beyond. The figure is based on a posed photo I took of myself. I'm getting increasingly uncomfortable conducting google image searches for bodies - it's a miserable thing to be doing. The human elements are very important when I include them in a painting, and if it's possible for me to model them myself, I'd much prefer to do that where I can.</p>
<p style="text-align: justify;">As usual this piece was built up with oil layers – mostly fairly transparent – over thin monochrome acrylic drawing, so the final tones were 'arrived at' rather than fixed at the beginning. Apart from in the sky, any paleness in colour is most likely due to the white primer shining through the paint, as in watercolour. The sky fades were done with several wet-on-dry layers, as opposed to a single blended wet-into-wet layer. The pale yellow and pink layers being applied in turn onto the blue with a wide mottler brush, then beaten and faded upwards with my 75mm Big Badger Blender Brush. I have my eye on an even bigger 100mm one, which should make larger and softer fades like these a lot easier and smoother.</p>
<p style="text-align: justify;">Apart from a bad lapse of judgement with a furious orange glaze (Indian Yellow and Transparent Oxide Red) over the central field which caused severe palpitations when I saw it the next morning, the painting of this piece went fairly smoothly.</p>
<p style="text-align: justify;">Despite the composition being relatively simple, there are some bits of painting that I'm quite chuffed with – the sky transitions, the light through the near edge of the wood and the landscape beyond, and the controlled curve of the wood coming over and down the left ridge. There are some effective bits of transparent paint where the grass is backlit – notably just above and to the left of the figure. They are a nice contrast to the more opaque bits of paint on the left where the Sun catches the slope, and the crops around the geese.</p>
<p style="text-align: justify;">Returning, finally, to the village, and its name. Krasny <a href="https://forvo.com/word/%D0%BA%D1%80%D0%B0%D1%81%D0%BD%D1%8B%D0%B9/" target="_blank" title="pronunciation"><i>красный</i></a> – is a very interesting word in the Russian language. It means 'red', but has other very positive associations. It is the root of <a href="https://forvo.com/word/%D0%BA%D1%80%D0%B0%D1%81%D0%B8%D0%B2%D1%8B%D0%B9/" target="_blank" title="pronunciation"><i>красивый</i></a> 'beautiful', and <a href="https://forvo.com/word/%D0%BF%D1%80%D0%B5%D0%BA%D1%80%D0%B0%D1%81%D0%BD%D1%8B%D0%B9/" target="_blank" title="pronunciation"><i>прекрасный</i></a> – 'wonderful'. A beautiful girl is a <a href="https://forvo.com/word/%D0%BA%D1%80%D0%B0%D1%81%D0%B0%D0%B2%D0%B8%D1%86%D0%B0/" target="_blank" title="pronunciation"><i>красавица</i></a>. It's also used in describing the special corner – krasny ugol <i>красный угол</i> – where holy icons are traditionally placed. Not that much of a surprise, then, that the 1917 Revolution became so deeply rooted in Russia when its imagery was all about 'Red'.</p>
<p style="text-align: justify;">I noted earlier how quiet and idyllic the scene is. Now, if you go back to the source image in streetview, and turn your viewpoint around to look behind you, you can meet some of the villagers...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-88444503672433636762021-05-21T13:58:00.000+01:002021-05-21T13:58:32.396+01:00Luminous Cumulonimbus<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-IjX9tJDXVG4/YKetEuIvn4I/AAAAAAAAPwk/pjadOWjWmOwermrOSGX0vD4NpmwRxboVwCLcBGAsYHQ/s2048/Museum%2BRoof%2BCuNi%2B11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-IjX9tJDXVG4/YKetEuIvn4I/AAAAAAAAPwk/pjadOWjWmOwermrOSGX0vD4NpmwRxboVwCLcBGAsYHQ/w400-h266/Museum%2BRoof%2BCuNi%2B11.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">oil on card 30x20cm
<p style="text-align: justify;">The main subject here is, of course, the sky. It's sourced from a photograph taken a few years ago, looking north from the National Museum of Scotland's rooftop terrace. There were waves of heavy Cumulonimbus shower clouds passing over all day, and it was worth shifting myself to a good vantage point to get some useful reference images.</p>
<p style="text-align: justify;">Most of them were more bulky than towering, and had extraordinarily soft and 'hairy' cirrus upper levels. There were also clusters of smaller cumulus forming at their bases - which is unusual – and the one in the painting had an intense white light bouncing out of its core. I didn't want to include the city skyline, though, so I needed to find an alternative landscape. A particular vista looking north in <a href="https://goo.gl/maps/uYRgQsuTuDyXTjCEA" target="_blank" title="streetview">Perthshire</a> came to mind, and - being too lazy to find that set of photos – I took the dramatic version on offer at google streetview and ran with it.</p>
<p style="text-align: justify;">Inspired by the streetview image, I planned and carried out an interesting experiment. After the usual thin acrylic underdrawing, I put an Indian Yellow oil paint wash onto the sunlit foreground – a transparent 'stain' over the acrylic and the primer. The idea was that this would show through subsequent layers, and mark a difference between the sunlit/non-sunlit areas. Unfortunately, I then had to put a lot of effort into dulling that yellow foreground down as it was pulling the eye away from the clouds. It was an interesting experiment, though, and while maybe not the best idea for this painting, might well prove a useful technique for something more suitable.</p>
<p style="text-align: justify;">That wasn't the only thing that went wrong (sometimes a painting will paint itself, and sometimes they resist. This one was definitely one of the latter). When cleaning off some excess blue on the clouds – a pretty straightforward action on a firm surface - some of the cloudwork got cleaned off too, right down to the primer. I had to build up the surface again, which was very annoying, and so was definitely a Bad Thing, and meant that the painting took longer than it should've done.</p>
<p style="text-align: justify;">Every cloud has a silver lining, however, and that delay meant that my order for <a href="https://www.jacksonsart.com/m-graham-artists-oil-paint-37ml-titanium-white" target="_blank" title="Jacksons Art">M.Graham's Titanium White</a> arrived just in time for me to use it for the final highlights. Unlike most paint producers, who grind their pigments in linseed oil, this American company grinds all of their colours in walnut oil. I generally find Titanium Whites rather greasy and unappealling, but the walnut oil gives this one a lovely soft and mobile feel. It may dry a bit more slowly than the linseed stuff, but there are mediums and driers which can accelerate the drying/curing process if necessary, and this walnut-based white won't yellow as much as a linseed one. This could be quite a good find, and it's not a daft price either.</p>
<p style="text-align: justify;">It's May now, getting on for proper summer, and - fingers crossed very firmly - it looks like the Covid emergency might be slackening off here. Madam and I have both had two jabs, and are in our post-vaccination resistance-building period. The Museum is open again for pre-booked timed slots, and with a bit of luck it'll soon be OK to turn up and ascend to the NMS rooftop terrace spontaneously, without having to pre-arrange a visit.</p>
<p style="text-align: justify;">As I say, fingers crossed...</p>
</span></div><br /><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8786419533938984356.post-32360566987542636342021-04-29T16:15:00.000+01:002021-04-29T16:15:31.377+01:00Window Work - April 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--7LQP36eSYc/YIrM-JLMGQI/AAAAAAAAPos/cR_FyIAoOzw7ZN7-xqOxQR42YyTscZcMwCLcBGAsYHQ/s2048/Window%2BWork%2BApril%2B2021%2B1v8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1057" data-original-width="2048" height="206" src="https://1.bp.blogspot.com/--7LQP36eSYc/YIrM-JLMGQI/AAAAAAAAPos/cR_FyIAoOzw7ZN7-xqOxQR42YyTscZcMwCLcBGAsYHQ/w400-h206/Window%2BWork%2BApril%2B2021%2B1v8.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;">watercolour and pencil
<p style="text-align: justify;">There's nothing finished in time for the end of the month, so I'm resorting to Window Work for this month's post.</p>
<p style="text-align: justify;">The last 'Window Work' stop-gap was back in June last year, so I'm not that unhappy about the regularity of production of the easel pieces. The quality of the window sketches had dropped a bit in the meantime, improving slightly over the last couple of months with a return to using mostly pencil. As ever, the sketches presented are by far and away the very best examples - most of the rest are, shall we say, 'not so good'.</p>
<p style="text-align: justify;">As ever, the subjects are just passers-by as observed while sitting (with a cup of tea and a 30-minute radio programme) looking up the road through the window. The postman – on the far right – is a regular subject, but he shifts very fast indeed. The dogs are difficult because I have no great familiarity with their forms, and I need a lot of 'seeing' to get an idea of how they work.</p>
<p style="text-align: justify;">Of these drawings, I quite like the efficiency of the grumpy girl on the left - there's a feeling of her weight and 'slump' - but my favourite of this selection is the light and jittery pencil sketch of the girl with her dog. It's very energetic, with just enough information to let us 'join the dots' about what's happening.</p>
<p style="text-align: justify;">Meanwhile the easel work grinds on, and I'll hopefully have some more complex pieces to present in May and the coming months.</p>
<p style="text-align: justify;">I should just like to point out that our regular postie has never - to my knowledge - had any problems with dogs. Not on this street anyway...</p></span></div><br /> <p></p>Unknownnoreply@blogger.com0