I doubt if I will get round to finishing another painting before the end of the month – but one never knows, so I may well be adding to this before the 31st comes to a close. Today’s photograph shows the finished work for this month.
It was quite a long laborious ‘finishings’ this month. I had been busy painting the first three weeks of March, with eight paintings completed during that time. All, bar one, needed framing – six of which needed mounting too. I also wanted to get them onto my new super organised ‘catalogue of art 2017’ – constructed in MSWord. There is certainly more to being a full-time artist than creating works of art! Not quite all on the website yet but I still have a few days of March left to get that done. Give me a couple of days and then go check it out: Ainetheon Arts – New Work .
Meet Moody Margaret, sheep extraordinaire. I have a feeling Miss Margaret though may be more of a ‘Ram in Ewe’s wool’. But I don’t mind transgender sheep. This has been a bit of fun for me over this last week or two. This fun wee painting started out as another ‘left-overs’ and I have worked away, off and on, at it over the last couple of weeks using the left over oils from my palettes from other paintings. Perhaps she was a bit of light relief from working on the landscapes. She is worked in oils on prepared (gesso) board and is 15×17.5cm. I have used a photograph I took some time ago as reference and tried to put a bit of character into the piece. Sheep, like all animals, have characters. Whilst I was working on Moody Margaret I kept thinking up stories about a sheep. A rather bossy, dominant sheep who keeps trying to be in charge only to find that other farm animals play tricks on her. Perhaps a children’s story in there after all ……
I’ve come to 5.30pm and realised that I have not gone shopping yet. I have two choices – eat what I can cook from frozen in my freezer (which means a late dinner) or get to the shops quick and see if I can pick up something that will cook quickly – and maybe even treat myself to a bottle of wine. My prize for completing two paintings in one day, albeit ones that were started previously.
Started yesterday at the monthly Drop In for Art session – finished this morning. I say finished but quite often after a painting has sat for a few days before signing I make a last minute amendment or addition. I may dull the ‘wee hoose’ down a tad when I come to sign the painting.
For this landscape I have used my own reference photograph taken during Sunday’s Day 1 (en plein air) of the 2-day workshop. The palette of oils I have used for this one includes titanium white, cobalt blue, indian red, cadmium yellow, yellow ochre, burnt sienna, burnt umber. The support is a board primed with gesso. I’m hoping the oils will be dry enough for me to mount the piece in a week or so. The size of this study is 14x10cm and I may decide to paint a larger version later in the year.
Wilkie’s Shelter is a red and white public shelter with seating. There is a board close to it giving information about whose life it commemorates and why it was built. I’ll have to come back and edit this post as I have very little time at present to give full details. Briefly, for now, it sits on the top of Kirrie Hill behind the Peter Pan Playground. The shelter is partitioned into four sections, two of which overlook the Angus Glens. This view looks out towards Glen Clova. Perhaps I ought to paint a view from each of the sections. Another thought to put into the Project Folder.
This 10×8 inch painting started life as a study for a larger piece but I worked on and it has become a painting in its own right. Worked in oils, this was one of the four oils started recently. It was inspired by last week’s EPA (en plein air) walk up to the Airlie monument on Tulloch Hill and beyond to look over the glens. This particular scene was composed from a previous visit in September 2016 (own photo reference used) when the grasses were a bleached ochre, the heathers an aged mixture of sienna and umber, the sky showing a dramatic loss of summer. I am still working on the EPA piece I started last Tuesday (7th March) and I hope I can capture just as much drama as I did with this completed one.
Oh it is so good to be back painting landscapes in oils! Having said that, I am still committed to making this a year of abstract development. Hopefully I can manage to continue to do both as well as running regular workshops. At least I will never be bored.
A short blog today. I have a very messy studio that needs tidying and clearing before the end of the day. I am heading off out this evening to a private view with a friend so have a tight timescale to clean up in, especially if I want to get a bit of painting done today.
Friday is working on my own day, apart from the occasional visitor to my studio. My desire today is to work in oils, my favourite medium. I love the sensory aspects of working with oils; the smell, the feel (yes, I sometimes do use my fingers to apply or smudge in the paint) and the overall quality of this medium. Oils are sensual. A most delightful love affair.
This morning I have been working away on three oil paintings of landscapes. All of them different, with scenes of individual beauty. The first one worked on this morning was the 30x60cm canvas of Forfar Loch I had started 11 days ago. This one I am painting from my own reference photograph using Seawhite Oils: Titanium White, Cobalt Blue, Coeruleum, Yellow Ochre, Burnt Sienna. I want to try to see if I can stick to this limited palette; so far so good. I had started this one with a brush sketch using thinned out Burnt Sienna then applied the first layer last Friday evening then leaving it for a week to let the oil paint dry out enough before applying the next layer. Today I have worked the sky and water a bit more and darkened up the background shading of the water edges, grasses and trees using a mix of Cobalt and Sienna which gives a lovely luxuriously deep, almost Phthalo, shade of blue. I am pleased, so far, how this one is developing. I may do a little more to this one later today or over the weekend then let it sit again for a week or so.
The next one I decided to work on was a 30x30cm deep edge canvas of Queen’s View in Perthshire which was started as an En Plein Air painting last summer. The wind got up whilst I was standing at the viewpoint overlooking Loch Tummel, blowing me, the easel and the canvas about a fair bit. I called it a day, brought the canvas home and settled it on a shelf for the last few months. Today I started to edge out some of the darker shapes along the loch in the same Cobalt and Burnt Sienna mixture then blended it in a bit with the lighter blue of the loch. I will work on this one more later today. I have painted this scene a few times, the largest and best example held in a private collection in Suffolk. I enjoy painting this scene but prefer to do this in the studio as trying to work EPA at the viewpoint is nigh on impossible due to the tourists. I’ve also taken a couple of overseas students to this location for a two-day workgroup last year; long, exhausting days but very enjoyable ones.
Last dabble before lunch was adding a bit more substance to the sky from this week’s EPA venture up Tulloch Hill. I had thought about ditching this one but then thought better of it. Practice makes perfect so to speak, and not only that if something is not going right first time then there is a lot more to be learnt from sticking with it than giving up. I think I was more disappointed with not being able to do a complete painting EPA on the day. I paint slowly and do so envy those who can work outdoors for a couple of hours and come up with spectacular work. I don’t think I have ever completed a piece of art fully EPA, and if I have then it still gets tampered with in the studio. Another habit of mine, I find it difficult to stop painting and oft-times overwork a piece. The View from Tulloch Hill has been salvaged to be worked on and completed another day.
So today is oil painting and there are now three oils on the go, all landscapes.
Thursday already. Thursday is my Monday, the start of another five days of working in the studio. Weekends, mid-week or otherwise always seem to rush by quicker than I expect or want. My mid-week weekend has been no different to most. I promised myself a full day out and about on Tuesday, walking and painting in the Glens of Angus.
On Monday evening I prepared my new pochade box with all the accoutrements needed to start a new landscape in oils. I packed my usual Winsor & Newton favourite colours and a couple of extras plus an assortment of brushes and a few palette knives. The box had plenty of spaces for additional materials for cleaning, thinning etc. I had even ‘primed’ the palette of the box with linseed oil (so much easier to clean up afterwards).
Tuesday morning was bright, blue and a bit on the cold side. Never mind, plenty of wrappings will keep me warm. Breakfast finished, off I set with my prepared pochade box (complete with two boards supporting a sheet of 12x9in oil painting paper each side), a lightweight folding stool and my rucksack with lunch, water and a few sundries. The large flask of hot water I decided could stay in the car until I got back to it. I knew what and where I wanted to paint, and knew that there was every likelihood of it being very much different to when I last visited in September 2016. It was indeed quite different. I forgot what a climb it was from the car park on the way to Glen Prosen. And it was much colder in March for sitting still for well over an hour on top of Tulloch Hill, where the Airlie Monument sits in memory of the 9th Earl of Airlie who was killed in the Boer War.
Well, I actually set myself up a short walk away from the monument itself and perhaps exposed myself even more to the chilling wind. My hands became so cold that I put my lovely soft leather gloves (my best ones of course!) back on to paint with. The are no longer pure black – they have the odd smudging of oil paint in a variety of colours. Not too much but enough for them to no longer be considered my best pair of gloves. My woolly pom-pom hat with the lovely fleecy lining also had to be put on. My poor ears were starting to go numb with the breeze biting at them.
I much prefer the photos I took last September and have a notion to follow up the one started EPA with one of the Autum scene. Two different scenes from a short distance apart. I will work on more than one scene from both the autumn and the spring. It will be interesting to see what comes out from both. I don’t do too much in the way of EPA painting. I suppose I did more outdoor work when I lived down in Suffolk when life was a bit more settled than it has been over these last couple of years back in my homeland. I intend to rectify that now that life events are settling into a nice routine of work and play. Scotland is such an inspirational playground for the artist. Angus and the wonderful Glens is like manna from heaven to my heathen soul. I will never have enough years to visit or paint all I want of Scotland before my ticket is called. But I will have fun and plenty of adventures along the way.
Tuesday’s EPA painting did not go so well for me, perhaps because of the cold and perhaps because I need more practice hoicking art paraphernalia and lunch up mighty steep hills (well I am into my 60’s now!). I also need to get over the reluctance of being visible to the public (hence I don’t do street scenes – but watch this space). I choose the Glens thinking that there would be a good chance of not seeing other people around. On this trip I had two couples and single walker stop to chat. Once my concentration gets distrurbed I sometimes find it difficult to settle back into the ‘mode’. After about an hour and a half of playing around with the oils I decided to pack up and walk further into the glens, heading towards Clova (and a suitable place for a ‘comfort break’). I took some photos along the way which may or may not get used for future paintings/inspirations etc.
I could have kept going but realised that I had a lot of up and down hill to retrace back to my car. And I wanted to get back to the car for a nice hot cup of tea from my flask. I made it back to the car by 15.30 and sat on a bench in the car park looking towards Glen Prosen. Enough was enough for the day. Time to head home and get back into the warm.
Next week another EPA day. Where will I get to next week?
Monday morning arrived with a touch of frost and clear blue skies. Just the right weather to think about new beginnings. Spring is definitely in the air – within me and in the World. The above photograph shows the three new works I have started this morning plus the one I started on late yesterday (mentioned in yesterday’s blog). So let me tell you a bit more about each one and how I hope to develop them. I’ll take them from left to right.
The 30x60cm canvas is a continuation of developing the Forfar Loch project I started last week (see last week’s blog on Starting about that one). Since finishing the Tighnabruiach commission in December last year I have been itching to start another landscape in oils. I love working with oils. I love the smell of them, their fluidity and buttery feel under the brush or palette knife. I love the smell of the thinners too; I know, I ought to be using low odour thinners. And as for the linseed oil, well there is nothing like adding a bit of that to the oil paint to thin out for glazing etc but oh it does add to the drying time! I’ve given this canvas a wash of Burnt Sienna (Seawhite) and used a cloth to evenly apply this then dabbed out the areas to lighten for clouds and reflections. I then thickened up the paint and used a 3/4 inch flat brush to map out the darker areas. The burnt sienna will add a touch of warmth to the painting. The reference photograph was taken last week when I was out walking. Even although it was a cold blustery day there was plenty of sunshine and I felt warm inside and out. This view struck a chord with me, making me think of and compare two lovely places where I have lived (Suffolk) and where I now live (Angus). This painting is likely to take me about 2-3 months (or longer) to complete as I use traditional oils which will need time to dry between layers.
The 16×7 inch was originally going to be painted onto a panel however, when I removed the panel from a beautiful frame I have in the studio, I realised that the panel was only hard board with rather rough edges. I thought that a coat or two of gesso might be good enough but I was not happy with it so I cut out the exact size of the board in specialist acrylic paper (Seawhite 360gsm) and glued it to the board. I now have a suitable support for the painting. This rendition of Forfar Loch will be completed using acrylic paints and I think I will use either the Galeria (Daler Rowney) or the Seawhite acrylics. I have prepared the support with a two-tone acrylic wash (blue) and have set the horizon about one third down from the top. The light blue wash for the sky has been ‘dabbed out’ in places to show the lightness of clouds. The darker blue (ultramarine with a touch of burnt umber) has been applied in a watery wash, again dabbed out to show the highlights on the water then thickened and applied to the areas in shadow or darker tones. I’d like to get this one finished by the end of March; one of my completions as part of my goal for that month.
The 16×12 inch canvas will be another abstract. This one has been inspired by my waking thoughts at 6am this morning. Why I was thinking of skiing heaven only knows – I have never skied in my life before! There is, as with a lot of the abstracts that I have been doing, a spiritual element to this particular piece but I may talk about that another time. So at 6am this morning I wrote a few lines in my journal and made a quick doodle to remind myself of the shapes/composition I had thought of. First thing I did when I got into the studio this morning was to sketch out my idea in my sketchbook using coloured pencils to remind myself of the colours I felt would work. In the photograph you will see the initial sketch above the prepared canvas. Again I have used a thinnish acrylic wash (Galleria burnt sienna and crimson) to map out the composition. This too I hope will be one of my completions for March – but we’ll see how that goes as I have a habit of delaying the finishes and I also have an abstract WIP (70x70cm) that needs some attention and finishing too.
Finally, the 30x30cm canvas on the right is one that I started late yesterday after finishing the two abstracts (see yesterday’s blog). As I mentioned, I don’t like to waste anything and I had quite a bit of acrylic in blue (coeruleum and ultramarine), black and white left over from previous painting sessions so I set about blocking in and imaginary scene. This one technically is a ‘starter’ from last week rather than this week but one I hope to work on in-between the others. This one will get finished as and when according to how the Muse directs me.
A lengthy blog to start the week on and I am now way behind what I should be doing. So it is off to tackle some of the more boring tasks of being an artist – keeping the paperwork up to date and a little marketing. May you all have a happy week.
With the end of the month looming, I spent today concentrating on trying to get some art work-in-progress completed. I am the devil’s worst for starting new work and either taking ages to complete or just abandoning it to an obscure hiding place. Out of sight really does mean out of mind in my studio. If I can’t see it then it tends not to be worked on until I have a major clean up and rediscover these half-worked canvases etc.
At the start of the year I quietly resolved to attempt a start and a finish for each week of 2017. Not a resolution of course. Experience and self-knowledge tells me that resolutions, especially when made and disclosed, often fall by the wayside early within the first quarter of the year. So my 2017 aim is not a resolution. I had considered making it a resolution, because I knew I could make a fast advance on achieving this by adding the artwork for the FunAday Dundee (FADD) January event. But that would be cheating. So instead I set a personal goal of attempting at least one start and one finish every week after the FADD exhibition. That was two weeks ago.
I am pleased to say that, so far, I am on track to reaching my goal. Very much aware though that I’ve only worked through two weeks and I have many more to go. Like a whole ten months of commitment. Whilst I am working to a schedule there will be no foreseen problems in achieving my goal. However when summer comes around there may very well be a multitude of distractions to cause delay. Like my eldest daughter’s wedding in August. And there is the visit to my home the week before that from the third daughter and her brood of boys, including the adult boy. That might be August wiped out. Then in September my good friend from Suffolk comes to visit for two weeks. And that is two weeks of burn-out adventure time. There is so much of Scotland to show her, especially as this will only be her second visit to Scotland. Aside from those planned events, I also have to filter in visits and fun times with all four daughters and grandchildren. I have a feeling the goal posts will be getting moved around a wee bit before the end of the year.
But it is not all doom and gloom. So far it is all going well. In the two weeks post-FADD I have managed to complete three art works, giving myself a head start. This week I have completed the two above, both part of my ongoing abstract development project. Both pieces were inspired by the smaller versions (15x15cm canvases) I did for FADD. The Untitled one is more or less the same but larger than the smaller one (Under the Bridge), however the Blue Sails in the Sunset (this title may change) has managed to paint itself completely different to the smaller version.
The Untitled one is quite precise with its sharp lines and the only curves are in the bridge where the long boxes or shafts recede under. I don’t feel the boxes are going away from the viewer so perhaps I should not use recede to describe their action. I feel the boxes are more rushing out from under the bridge to meet with the viewer. What do others think I wonder? I know an artist friend thinks this piece of art is quite representative of an album cover. My own thoughts about this painting is that it seems to have more male energies than female. Perhaps that is why I am struggling to come up with a title for this piece.
Blue Sails in the Sunset has a completely different feel to it. It was painted completely with palette knives and has many layers applied freely and thickly, sometimes being blended in wet-on-wet (particularly the sky) or applied randomly and thickly as pure colour one on top of another when dry. There is a lot of movement within the stillness of the sun bedding down for the night. I’ve deliberately tried to achieve this juxtaposition in order to create a form of communication. Whether or not it works will be dependent on each viewer’s perception. I feel I may have overworked this piece but I have decided to call it a day on this one and get it off the easel so that I can start something new.
In both paintings I used Daler Rowney System 3 Heavy Body acrylic paint. I had some leftover paint and, as per my usual practice, I used some of this to make a start on a prepared canvas waiting in the wings to be started. I’ll talk more about this next week. The rest of the leftover paint went into a plastic container (the sort you get from take away restaurants) with lid and this will be used another day. I try not to waste much.
Since Wednesday’s inspirational walk round Forfar Loch I have managed to draft out a project sheet with a couple of sketches, some notes and a colour chart for oil pastels and chalk pastels. Today I decided to work on a small piece using oil pastels.
The support is a piece of mountboard primed with a layer of gesso. I lightly mapped out the main contours in a fine pencil then applied oil pastels directly onto the board, overlaying white and the lighter colours for the reflections on the water and the clouds in the sky. I used cotton buds dipped into white spirit then dabbed off the excess before blending the layers to create the tones. Where I needed a bit more precise shaping and blending I used a no. 4 filbert. This was particularly useful in forming the clouds. The cotton buds were very useful for lifting out the colour where I wanted white reflection on the water. Once I was happy enough with the proportions and composition I then applied more highlights and shadow using the pastels. I may well work a little more on this one but I am aware I sometimes ‘fiddle’ then overwork a piece. Therefore this wee one will sit on show in the studio until I decide whether or not it needs more work.
I have planned out two canvases for this same scene in oils – a 20x60cm (I think the composition lends itself to a long narrow canvas) and a 30x60cm, a standard size for me. Not sure which size to choose as yet.
Born Baumgarten, Vienna on 14th July 1862; died 6th February 1918. This painting shown here is the one I have chosen for the Facebook challenge given to me by my friend and fellow artist Tricia Colyer.
Gustav Klimt, for me, is one of the most impressive artists of his time. His paintings are full of sensuous story-telling, almost touching on the erotic in one or two of them. I particularly like his use of gold and silver leaf in his art work. The portrait of Adele Bloch-Bauer (left), completed in 1907, is perhaps his most sumptuous in application of both gold and silver leaf. It is semi-abstract, if that is a correct term to apply to a piece of art, but has at its core the most delicate renditions of portraiture ever completed by any artist. He has captured the character of this woman and presented her quite serenely and gently to those who look upon her. She looks out of the painting with reverence and command. This perhaps is exaggerated by her eyes being very high up in the overall composition. Of course, having no knowledge of the woman I cannot say for certain if he has done her justice or not. But to me she is beautifully composed and presented.
Gustav Klimt is one of the artists I have looked to for developing my abstract work in 2017 along with Piet Mondrian and Wassily Kandinsky. You may hear more about Klimt (and the others) throughout this year.