Snowday

Snow Light,  monotype: akua intaglio on Heritage paper, 10x15 cm

This morning when we woke there was snow on the ground.  The 'white beast' had dumped about a centimeter in Battisford! Later, while walking Lyra in the dusting of snow, as we came back around the field, the light on the  red-leaved tree made me pause.  I went back later and did a quick  black and white pencil sketch, took a photo and leafed through All Prima by Al Gury to find Henry Twachtman's Snow painting as inspiration. http://www.pafa.org/sitedata/artworkpics/2003_1_10_l.jpg

Pin the colour down before it fades

Reduced Flowers, pastel on paper 15 x 14 cm, pastel on paper

Sunday Morning! I bought some reduced flowers early last week and plunked them in a vase by the door to take out to the studio to draw.  They sat there.  I was too busy making monoprints painting portraits and looking at beautiful paintings at Christie's… so about a week from purchasing them, those poor flowers were on their last legs and hadn't been drawn.  I couldn't let that happen. 

The orange under the jam jar is a pair of PJs I bought from Anthropologie in their reduced reduced sale - I have been meaning to hem them for years, literally. The pattern to the left at the top is a scarf I got at a charity shop last year and the fuscia on the right is an Indian top that I got at the car boot a few years ago. The green cup was an early wedding present from Patrick when we'd first moved to Singapore.  The purple is a placemat I bought in Rome.  There is a cheese knife from south Africa on it and the book came from a used bookstore in the Southwest. 

This small drawing took most of the day.  In the past I might have stopped when it was freer and created the mood without pinning everything down.  Perhaps I will return to that approach.  Tomorrow when the sun comes up I will look again at the right of the jam jar lid.

Colour of Morning Dog Walk

Returning to the dog walk drawings, I considered the light as it rose and the colours that light can make. I wasn't remembering colour so much as finding the colour that felt true.
Sometimes when I walk I can't help but exclaim about a particular light or the slant of the horizon and recreating that was the goal.  In the top monotype I rolled a bright pink over the plate and wiped and painted back in colour, thinking of Milton Avery.  On the bottom this is the second pull.  The first was nightlight and I wanted to find the light of cold in this one.  The cold is coming!

NO need to go far for inspiration

View from Front Garden,  pastel on paper, 14 x 15

I've got some monotypes to make for an upcoming show and today was supposed to be devoted to that until I decided to go outside to draw.  It is cold today, about 3ºC when I was standing in the front garden. I had three layers on the bottom and four on the top and I still had to stop to warm up after about an hour and 1/2 before going back again. I much prefer being cold and standing to being warmer in a car, though.  Besides, I need to get 'match fit' for my plein air painting with John Dobbs in a few weeks time. It's funny to think that I will take the train and bus to paint the Thames when I have so much inspiration right here.

I've been reading more of the Jason Gaiger book, thinking about how we read the marks on the page and whether denotation comes first.  I suspect everyone can recognise that cold wintery sky.

Now maybe I will make those monotypes!

A few more from life

 On Monday Barbara brought a big box with her to life drawing.  she'd seen a performance at Dance East using a box and was inspired. Shadows fell in a different way.  The body was brought into relief.  the image below was without the box, with the mirror making the edges. I had decided to work in ink and was trying to let the magic of the ink speak, so made choices differently and had to work slower.  I didn't want these to be line drawings, I wanted to use tone. These small sketches (between A5 and A6) were 5, 10 and 15 minute poses. It's interesting to reflect how they give me as much, though different information than a colour pastel drawing.

 We had Esme the week before and I used my 10 x 15 cm zinc plate. The plate below still has a ghost that I am considering reworking. I realise that when I put release agent on top, I lose the whitest whites so thought I could consider that in the subsequent print. I only worked backwards in one of the prints so was able to print a few prints during the two hour session.  Clearly my brain takes longer to work backwards - something to consider for NEAC drawing school.

 The images below are from my last visit to London and NEAC drawing school with Mick Kirkbride.  I was determined to get more done but we made a series of quick sketches first (which was great)  but we didn't have as long on the pose.  I worked backwards but was determined to get a quick print too. You can see how the release agent darkened the whole image in the middle print. 

Instead of daily pages…

Every morning we walk Lyra, rain or shine in some direction and home.  On Saturday morning there was some spectacular ground fog rising up as the sun began to glow. I took my camera, something I rarely do and took some pictures as we walked, to have reference photos but also to focus my mind on what was special about this day at this time. 

In the past I have drawn from photos by projecting them on the wall.  I've used charcoal when I've done this and have tried to feel as if I was in the place where I took the photo, as I've drawn. This time, I used six dilutions of ink and thought about the value of what i was looking at.  I used postcard sized photos I printed as reference.  the ink is from the Works.  I suspect I should buy something a little stronger, but for this it worked.

I thought about some of the things Neil Pittaway had shown us and talked about and worked at evoking the feel of a dog walk in the morning, not getting bogged down with making things 'right' just finding the feeling.

I worked on the ink sketches (A4 size) around our visit to Tina and Christopher's (for lunch) and again this morning.  On Friday and Saturday my friends were talking about how they use 'daily pages' to begin their days.  We walk Lyra and I think visually and it feeds into what I do. 

The Continuous attempt to solve problems from every angle.

Swallow Time, oil on prepared book page, (painted area 15 x 10 cm)

After a large pastel, of course it was time to do a small oil. I wanted to make a companion piece to an earlier painting on a book page. I approached the set up and the painting in a similar way to before, although this time I began using only brushes that were too big for what I was doing, (a suggestion from Louise Balaam). I was actually wedged in a small space in my studio and I kept having to shimmy out to find stuff.  In the end I just gave up and decided to do what I imagined with the tools I had …

First I found some book pages, glued then gessoed them and then I rearranged things from the previous pastel.  This is something I do now.  I try to finish what I start, ignoring structural elements if I can make things work and then look at what I've done and do it again differently. Matisse did that. 

So the things in my head today were:
- use more paint
- don't fiddle (use a big brush)
- mix the exact colour to begin with and lay colours right next to each other 
- use lots of variety, pace things
- design the page and use value to effect
- Dorothy Eisner

I am more purposeful. Working across media  and in different ways leads to very different outcomes.  Scale matters.  Composition changes radically depending on the shape of the paper.