What Comes Next in a Series?

Car Boot Oranges, egg tempera on panel 23 x 16cm, 

A few weeks ago I made a still-life  Jugs where I was exploring how to balance light using layers of pigment vs white mixed with pigment. The egg tempera class I'd taken with Mick Kirkbride was focused on using layers of pure pigment mixed with egg to create luminosity. Ruth Stage uses milky/eggy colours.  I had the idea that by using both kinds of painting you might be able to create light in a particular way.

I set up a new  still life up a few days ago but it wasn't until yesterday that I had time to work. The still life was made up of objects I have bought at the car boot or from local charity shops as well as a few of my brighted spined art books. My goal was to create a companion piece for Jugs.

What you can't necessarily understand is that in Jugs the light is coming from behind and the pattern at the back is a kantha folded on a radiator under a window.  This time the light is primarily natural  but I also pointed lights from both sides.  I chose similarly coloured objects to  Jugs  and this painting was made working from life.

Is it good to struggle? I sure did!

Valentina, ink and pastel A4 30 mins

On Saturday I went down to London for a course with John Dobbs at Heatherley's`: The Reductive Figure .  I was excited but I had a few complications to contend with.  I had a drop off for something I had been preselected for that I had to fit into the day.  There were replacement buses from Witham to Newbury Park and I was meant to bring all the gear to paint with. As I was packing up I made the executive decision that I would not bring oils or even acrylics but would take a smaller kit (gouache and pastels) and paper rather than canvas.  With everything scaled down I felt I would be able to travel down without incident.

John shared a David Park quote from A Painter's life  and wanted us to paint directly, quickly and boldly. I had arrived a little late and was sandwiched in pretty tightly.  I had to keep stepping sideways to see the model which is always a disaster. My contacts and my reading glasses weren't helping me to see very well and I was some distance from the model.  Before I began I was already struggling. The first drawing (above) was the most successful as a whole.  The second pose was a seated pose and I have to admit to throwing it away. After that one, John suggested I work on a part of the figure, the head and the shoulders. The goal was to say something that I WANT TO SAY about Valentina. I always notice her neck and the way her mouth turns down. I blame sidestepping for my lack of ability to see her as carefully as I might have. By this point I was regretting my materials. I had meant to bring charcoal too and thought I had, but for some reason it never made it into my bag. Every time John came by he told me it was good to struggle. I guess it was obvious!

Valentina, ink, gouache and pastel A3 30 mins

In the final pose, which lasted all afternoon, I found myself beginning with washes of colour. Once I'd begun I couldn't stop layering these washes of Gouache over each other as if it was egg tempera. I had no white so used a white pastel to lighten the hues. Cordelia offered me some of her white gouache which I used sparingly. As I am not a watercolour painter and haven't honed my skills with this media I was struggling to make them cooperate and to say something. The something I was saying was not related to the 'assignment' but once I begin something I find I need to keep struggling to find a resolution. I'm not sure this is always the right approach. So while this is unresolved, I am interested in Valentina's skin and the way her face disolved into her chin. 

2+ hours Valentina, gouache & pastel A3

To answer my own question, struggling certainly isn't comfortable and perhaps it's not necessary to persevere all the time.  Maybe it would have been better to begin again but I 'm glad I went to the class, find John an intuitive teacher and being with other painters is always wonderful. 

How the tiger got into the drawing.

Placid Stalking, pastel on prepared mount board, 30x33

When my day is uncomplicated it begins with an hour or more of drawing in my sketchbooks. As I draw I explore, I revise and dream about the future. I try to keep THOUGHTS out of my head but that's pretty tough.  On a good day the planning for what's next comes after when I look at what I've done. Drawing in my sketchbooks can mean something finished, or it can be something open and about the next idea. That can be because I am impatient to get on, or it can be because I run out of time, or because I want to retain something unfinished for later. The drawings below are the pre-drawings for the drawing above. 

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I added the tiger and used it later in the bigger more finished drawing. Here I paid no attention to scale. Perhaps all of these ideas will translate into a painting?

Objects as inspiration

Jugs, Egg tempera on Panel, 23x16cm

The husband of one of my friends is giving a course on hoarding.  We went to the car boot sale on Saturday and I couldn't resist a few more ceramic objects.  The vase below is one of them.  My mother is drawing objects too. She sets them up and creates beautiful zen brush drawings on her iPad. So does my sister and my brother and our daughter buys jugs when she can. My mother tells me one day she will take all her objects back to a charity shop for others to be inspired by.  Whatever, I can't help arranging my own and working in all kinds of media to create a story with them.

Sympathy in Green , pastel on paper, 46x46cm

Snow of Memory

Snowy Walk, egg tempera on panel, 30x20, 

I was asked how I worked recently. Did I draw, did I work plein air, did I use photos? I use all those strategies but I don't work in a straight line, visualising an outcome. I begin with something I want to try out and then things happen and I need to make choices and find ways to solve problems. 

I have tried to keep the snowy light in my head so that I could make a little series of pictures of walking in the morning light. I did some drawings and took some pictures and tried to look and look. I looked through paintings and kept two books open as I worked on this: Wolf Khan, pastels and particularly: Looking towards St Peters (1963) and Bonnard (Phillips Collection exhibition) Piazza del Popolo, Rome.

Wolf Khan, Looking towards St Peters

Pierre Bonnard, Piazza del Popolo, Rome

The place and the situation are a collage of memories, stitched together to make a believable moment. The figure with the hat was added later and I removed some things that were distracting. The moon was a happy accident.  a drop of water that removed the tempera.

The Figure in Context

 Conversation with View, 23x16, egg tempera on panel

I painted a landscape of Manningtree months ago and I couldn't resolve it.  I finished it, but it wasn't resolved so it sat in my box of incomplete egg tempera panels.  When I visited the Bonnard, ten days ago, I particularly loved the figures in context and the way he paints light. So I wondered whether the idea of  'light behind' would work in this case and whether some figures might complete it.

I printed a photo of the panel and drew some figures in with a pastel pencil so I began.  what i love about working on egg tempera that has set is that you can actually wipe off the bad drawing and it reamins exactly the same.  It is permanent! and there is a differnt kind of underpainting to explore.

When something works it's time to try it another way

Snowy Walk, egg tempera on panel, 30x20 cm, 

For the past few years I have stuck to particular media to use for different subjects.  I use pastels for still life, landscapes in Maine (mostly) and life drawings, egg tempera for portraits, monotypes for UK landscapes and life drawing. Oils are for everything. I've also made a few egg tempera paintings of still lifes and Maine landscapes since I began using the medium   Today I tried it for snow light. What I was trying to do was to create the surface interest that I love from egg tempera, to try to get the luminosity you find in snow and to find colour that would provide interest.  I used a few drawings I made when the snow was on the ground and photos from walks. The image was a collage of some of these images. 

When I went to the Bonnard I saw how he used drawings to do the same thing and how he used animals as devices for colour and shape within the painting. 

I think I'll do a series of these if I can find different things to say about it all.