This is the start of an experimental series. I wanted to do something to set up my own narratives, so I’ve used dolls and toys to create stories. I’ve aimed for a deliberately illustrative type of drawing (ink and wash) to create a sense of ‘fairy tale’. Very much work in progress, and lots more playing to do!
Oil on canvas 2 x 2.5 ft
It’s funny how working with the same image again and again makes you really look at it. The drawing on brown paper that I did yesterday suddenly looks hilarious – but yesterday I couldn’t see what was wrong with it. I guess this shows the importance of time in the creative process – leave something alone for a while, and it will eventually tell you what needs doing next. So that’s what I’ll do with this painting – leave it alone for a few days and it will either say ‘It’s OK, I’m finished!’ or ‘Get back to the drawing board’. I wonder which it will be?
This was originally drawn in ink and watercolour wash, then photocopied. I really like the way the photocopy has darkened all the values, creating a strange mood-effect.
Graphite and colour pencil on brown paper.
Both drawings are studies for a painting.
Acrylic on canvas 2ft x 3ft
Shown propped on the table where I painted it, as I don’t yet have a studio easel big enough for a canvas this size. It’s painted on the canvas that I made last term.
Finally got this painting to a stage where I’m happy with it. Oil on canvas.
Acrylic on canvas. We were set a challenge to produce a painting informed by the style of Sean Scully.
Finally here’s another painting. I’ve photographed it at various stages for anyone who is interested. It’s painted with water soluble oil paints on canvas.
The first stage was to put a very loose background wash on. I like to keep it very wet and allow the drips to run, as this creates an interesting texture to work on top of. I then drew an outline of the image using willow charcoal. Memo to self: if I use something more permanent such as oil pastel or dark paint, then I can confidently let the lines show in the final painting. The problem with charcoal is it does, of course, rub off!
In the second stage, I started to add flat blocks of colour, and then worked darker tones into the still-wet paint. I used a quick-drying water soluble oil medium to loosen up the paints. It’s very sticky to use, but does help the flow of the paint. I then let the whole thing dry.
In the final stage, I created a dark glaze using the same medium, and used it to darken the areas at the top of the picture. I also added some low-lights to the hair, and darkened some shadows. The whole thing is very glossy due to the medium, and is still wet, so I’m afraid it’s not a great photo.
I’m so proud of myself! I’ve been sawing, chiseling, drilling, hammering, stapling, and – er – using a screwdriver! This is all new stuff for cack-handed me. And only the one incident. I didn’t know that drills could go round the wrong way. Never mind, the drill bit managed to burn its way through the wood with all the friction, and I love the smell of woodsmoke.
Here is my first home made canvas stretcher. I’m now sizing it with PVA, and will then prime with emulsion before I can paint on it.
Soft Pastel (bargain pack from Lidl!) on ingres paper
I had a ball in Lidl last week as they had artists’ materials on special offer. I managed to pick up a desk easel (FSC wood) for less than a tenner, and it’s perfectly good quality and a nice simple design. I also bought these pastels, which are a bit gritty to use, but perfectly OK for practising. This is a study for a painting which is currently on the easel, background painted, composition sketched in oil pastel, and ready to paint.
Oil on Canvas
My objective with this painting was to start using oil paints on canvas. I’ve mainly been using acrylic paints, and these behave quite differently. I can splash acrylics about in large quantities as the paint is quite sloppy and comes in big tubs. Oil paint comes in tubes and is thicker. I haven’t learned how to loosen it up – partly because I’m using Artisan water-mixable oil paints, and they do behave a bit strangely. I wanted to avoid using turps if possible, but I’m not sure the experiment is working. I’ll persevere until the tubes are used up, and then decide whether to continue with them.
Because of the difference in consistency, and because I mentally think of oil paint as more expensive, I find I’m working much more conservatively with it. I paint more slowly, partly because I’m getting used to the feel of the paint. I think this makes the painting less lively, but it is perhaps a more contemplative painting as a result. I’m struggling with proportions and need to do much more figure drawing, but I am enjoying painting figuratively. I never thought I would.
I’ve been reading about Paula Rego, and have become quite fascinated with the way she works with narrative. Her pictures are carefully crafted to tell a story, and the stories are usually slightly uncanny creating a sense of discomfort. I love her drawing, which is bold and confident. I’d love to be able to draw that confidently.