unimpeded by weather, I work from life

Valentina, oil on panel 30 x 40 cm

It was certainly cold and maybe even already snowing on Monday but I was keen to make mono prints in preparation for my Friday NEAC session. I decided I wasn't going to work backwards and found myself using whatever supplies I had (I had forgotten many) to make quick studies of Emily. I had to use the only paper I had, cartridge, and a metal spoon which, incidentally gets very hot when you rub with it… 

Back in the studio I printed the ghosts using release agent, wiping it away to get some pure whites back where I had wiped previously.   I also printed one that had been hanging around from the week before, with Esme. That seemed to work!

On Friday, even though we were advised not to travel, I went to London.  The morning was spent at the British Museum and after seeing the Victorian photos, I went to the Mall where I made a few prints, following on from Monday. The print below is the best of the bunch and IMHO one of my best!

And on Saturday, I was back in London at Heatherley's for a brilliant painting workshop with Peter Clossick. This time I braved snow and bus replacements, travelling for 7 1/2 hours for the workshop!  Still, totally worth it.  The suggested technique was similar to the way I make a mono print to begin, putting on a neutral and then removing the light with a rag.  I was very susprised how thinly I painted after that, considering I was taught by Peter. I had imagined working in thick paint… I think I never really got the structure aspect of the technique but I was enjoying what the paint was doing and was chasing the light. At the beginning I had decided to make two paintings.  Peter stopped me with the top one (reclining nude)  about an hour before the end of the session.  I didn't resolve the head but it has triggered a chain reaction of ideas. Hopefully more soon!

Emily, monotype, akua intaglio on cartridge paper

Mary, akua intaglio on Rives 10 x 15cm, NEAC

Emily, monotype, akua intaglio on heritage paper, printed with press using release agent

Emily, monotype, akua intaglio on heritage paper, printed with press using release agent

Emily, monotype, akua intaglio on cartridge paper

Emily, monotype, akua intaglio on cartridge paper

Emily, monotype, akua intaglio on cartridge paper

Emily, monotype, akua intaglio on cartridge paper

Esme, monotype, akua intaglio on heritage paper, printed with press using release agent

Valentina, oil on canvas 30 x 23 cm

A day of portraits

1st pull Stacey, akua intaglio on paper 10 x 15 cm

2st pull (with added ink) Stacey, akua intaglio on paper 10 x 15 cm

final print (press and release agent) Stacey, akua intaglio on paper 10 x 15 cm

I was surprised how straight-forward it was to make monotypes and to paint on a couple of prepared panels with egg tempera in a group portrait setting.  Of course, I forgot a few things and had to find solutions…  

I covered a board with cling film (which I had brought) to use as a mixing tray as I had forgotten those..  I didn't have my spoon or barren so used the back of a fingernail brush and then a metal teaspoon to transfer the print. Carol doesn't have water in the studio so I had eggy hands after separating the yolk but it's amazing what you can ignore!

David posed first and I used my traveling egg tempera kit.  He is very still. I used lots of egg yolk, working from blocks of colour to more detail. Because I didn't have a big area to mix colour on and because I had carried the loose pigment and some had intermingled, it was difficult to keep the colour fresh. We all find his beard difficult to deal with.  I thought about Anthony Williams and wondered whether I should find out what other artists do.

When Stacey arrived I needed a new egg yolk and this time I had one of my hen's eggs.  The yolk was much yellower so everything became more brown; this was a surprise.  Stacey moved back from her forward leaning position and I had to stop as everything changed.

The series of monotypes followed.

Stacey, egg tempera on prepared panel 16 x 23 cm

David, egg tempera on prepared panel 16 x 23 cm

January light

It's one of those reassuring January things when the flower of the hellebore appears. As you know, it's been busy around Nayland Farm and frankly amazing that I have mananged to do anything let alone a little painting on book pages. I wedged myself in the corner of the studio while Figgy and Jonny made monotypes for the week they were home. Over a few days, before the hellebore drooped and closed I worked in spurts. I made a conscious decision not to have any pattern and wanted a feeling of white so chose my objects with that objective. I would have painted on (but needed to teach Figgy to frame her own gorgeous monotypes) and I still could but there is a certain freshness that I suspect I will just leave. But what do you think, should I crop it to the edge of the painting or not, or should I crop it into a square?

Meanwhile, I returned to London on Friday to visit John Dobbs (WONDERFUL) and to draw, or in this case make monotypes with the NEAC drawing school. Kate sat for the full two hours and I made two prints and two ghosts.