Expressive Painting with Tim Benson

45 minute oil on panel 

Yesterday was another NEAC painting session at Heatherley's. This time the tutor was Tim Benson.  I missed the opening talk as when I arrived at the train station in Stowmarket, I was surprised to find it was replacement buses.  Then the district line wasn't going to Wimbeldon so I had to walk from Earls Court - I arrived just before 11:00 (10:30 start) and had to set up the six colours Tim wanted us to use: alizarin crimson, ultramarine blue, lemon yellow, white, burnt umber and cadmium red medium.  We were to use a big brush (at least 1/2 inch). Tim wanted us to use thick paint and to work expressively to capture a close up of our model.

It was interesting to work with one fat brush and took concentration to keep the colours from getting muddy. Making corrections with thick paint doesn't come naturally to me so I scraped with my palette knife to draw. Tim wanted us to find the natural colours we saw and moving around after the first pose gave me the chance to see the way the light changed the skin colour significantly.  Unfortunately I did not have a bigger canvas for the final painting (there were three paintings over the course of the day) as it would have been impossible with my transport constraints and I could see this scaling up and painting with thick paint changed the challenge significantly.

I found Tim a sympathetic and astute teacher and enjoyed the constraints of the day.

1 1/2 hr oil on canvas

Drawing the model like a still life

 Having spent the last few days making lots of little still life drawings, directly, I wanted to think of the model as a still life today and see what that frame of mind would do to the drawings. I moved around the paper looking for shapes and colours, tones and light - swapping pastels, adding ink, beginning with ink, Using a big fat brush, working small, smaller, bigger - trying to hold the pastel gently, to use both the end and the side, to keep it dry and to work into wet and to think about the edges. This is the order of the poses. The first was 15 minutes then Sue decided we needed some quickies - 3 minutes, then back to two fifteens and finishing with a thirty.

Highs and Lows of early 2019

Since mid Feb I have sold these ten pieces.  I sold at Thorpe Morieux Creation https://www.facebook.com/ThorpeMorieuxCreation/,  the Cocobelle event at Boxted Hall https://www.cocobelleevents.co.uk, a private sale from Instagram, and Suffolk Open Studios 2019 Showcase Exhibition at the Apex, Bury St Edmunds. https://suffolkopenstudios.org That's a high!

Here are some facts:

• all of the exhibitions have been local
• I showed a total of 22 pieces at the exhibitions
• I showed 1 portrait
• I showed 13 stilllifes
• I showed 3 landscapes
• I showed 6 'opened books'
• I showed 3 egg temperas
• I showed 13 pastels on paper or board
• 1 monotype miniprint from the browser was sold.  I think there were about 12 things in the browser.
• prices ranged from £150 - 340, framed.

Meanwhile, although I had a piece preselected for the Royal Portrait, ultimately I was unsuccessful. This was an egg tempera of Figgy. I submitted just below the maximum for the New English Art Club annual open exhibition, and had nothing preselected.  I sold three things as a drawing scholar last year at that event. I continue to submit for shows outside my local area but it's tough to get noticed. It's all 'art tax' but my success rate in early 2019 is certainly a low!

The sketchbook project will depart for Brooklyn soon!

I finished my sketchbook for the Sketchbook project today. You can see the whole thing here:
https://drive.google.com/file/d/1FO_Bky9lU5IWPByQaennYgIW6pDsTjIb/view?usp=sharing Eventually it will be scanned and posted to the sketchbook project archive and if it arrives in time, it will travel too. https://www.sketchbookproject.com

It's always brilliant to work on something with lots of smaller parts over a sustained period of time and when it's compete it feels much greater than the parts.  This sketchbook is full of quick direct drawing about the objects I collect and arrangements that allow me to make colour studies.

I made the final two drawings this morning and then bound the pages, cleaned them up and will post it on Monday. Here are a few of the drawings that have kernals of ideas which I have either already responded to again or hope to later. 

While it rages outside, I create my own little worlds indoors

African Palette, pastel on prepared mount board 23x22

Today it rained and gales raged, rattling the windows of the studio. I barely noticed as I was immersed in my African Palette, finding the depth of the colour.  It was another one of those drawings that didn't paint itself. I could match the colour but every piece needed layers to get the excitement that the colour had in REAL life. 

On Tuesdays I often call in at the Mind charity shop in Hadleigh after pilates. I often buy something.  In this still life, objects from that charity shop are: the purple tablecloth that is the bottom rectangle and the jug above the orange. It took me at least three weeks to succumb to the jug, though. I planted the primroses in another jug from the Woolpit car boot.  

sketchbook project page - African Palette

I often set up my still life the night before.  That way I can sketch it quickly first and then sleep on it. 

House of Cacti, egg tempera on panel

This is the third of that bright object egg tempera series.  It is a smaller panel and the objects were arranged in a very convoluted way.  In the back is one of my old faves - a Cacti I drew years ago after visiting the Botanic gardens in NYC with my dad. The cacti soldiers marching East are from Woolpit but they are IKEA, apparently. Can you find the real cactus?

sketchbook project page - Mexican Table

 

Andrew, charcoal on paper, A4, RA live life drawing

And last night I tried something new… I projected the RA  live life drawing on the studio wall and had a life drawing session.

a few quick poses

Sadie 14x13cm, pastel on paper

Sadie, 12x15cm, pastel on paper

Sadie, 22x20cm, pastel on paper

Back at life drawing but only for 1 1/2 hours as had to sit an exhibition. These are 3/7 drawings I made in the session. My goal today was to be direct.  

Risk Taking and Quick Sketches

Some people freeze at a blank page.  That doesn't happen to me but I do work more intuitively and feel liberated to move things around, change colour and make compositions in a different way when I work (quickly) in a sketchbook.  At 58, even knowing that I sending a book somewhere to potentially have an audience doesn't make me too tight.  I look forward to the time each day when I will draw without intending to do anything beyond draw. Obviously I am scanning the drawings - there will be 32 in the end that I'll send in the sketchbook to the Sketchbok project https://www.sketchbookproject.com. I'm not sure if I will ever use the drawings I'm making for anything else but I believe that just recording all these arrangements is making it easier for me to use those intuitive muscles in the future!