The New Studio

As readers will be aware my house move has involved setting up a new studio. It is more accurately described as my painting room - too modest for a studio. Not for me painting in the kitchen, indeed my wife wouldn't have it so that was a no no from the start. Neither have I the facilities to build a purpose built studio like many top artists have.  Fortunately in my previous home a redundant bedroom, the children having long left, was used for this purpose and proved highly satisfactory. When we moved we downsized and as a result the only space available was  the small third bedroom. This is smaller than my other `studio' and posed a few problems as the `bed' was a permanent wooden structure on which a mattress could be placed to make a bed. Very odd. As several have expressed interest in my `studio', perhaps because they face similar problems in finding somewhere satisfactory to paint, I am showing it as best as I can not in some triumphalist vein but as to what can be achieved with modest resources.   

I promised myself that once the move was concluded - a very traumatic experience - I'd buy myself an Ipad. The grandchildren all have either Ipad minis or Ipod touches so I was feeling I was losing touch with modern technology. I waited until the Ipad air was introduced and here it is. Do I know how to use it? Well the book `Ipad Mini for Dummies' was borrowed from the children but with 360 pages of densely packed diagrams and text is hardly simple! Still I can Facetime them now when I need help!

The two photos above show the partially dismantled structure of the `bed'.  New flooring had to be put down in the middle and some plastering before being painted. The large box-like structure had to remain as the stairs come up underneath it. A new top was put on  and then the whole thing repainted. It serves as a large shelf and  is a repository for paintings both framed and unframed.

This view from the door looking in.

This is on the right hand wall and shows my art books and some storage towers.

Again from the door. There is a large cupboard for more storage. The window is recessed which affects the light. I have a daylight bulb which helps considerably.There is space in the cupboard for another storage shelf.

Still another view. The mirror is temporary and will be replaced by a larger one on the wall which faces the window and should reflect and improve the light.

A final view taken from the recess with the window behind.

Added 26/11/13. This is the room with the mirror now on the wall. The idea, from Zvonimir, is to improve the light and it does, although not to a massive extent. Possibly you would need a really big one. Taken with the smaller camera.

I had to use the lowest 17mm setting on my Nikon DSLR to get everything in so there is some distortion and it tends to make it look larger than it actually is.

That's it then. I now have no excuses not to paint, despite all the conflicting things that involve a new home. The credit card is starting to protest and we're just about to depart on the trail of further necessary (the wife says) purchases!

The Medusa

Whenever I see photographs of this lady, the somewhat notorious Rebekah Brooks, currently on trial for various misdemeanour's involving phone hacking and perverting the course of justice (very serious). I am reminded of the mythical female creature The Medusa. Her shock of red hair and pale features bring this to mind immediately. All that is missing are the snakes and in her previous very powerful role in the Murdoch empire, the object of her displeasure could certainly be turned to stone. Fortunately those days are over (I hope!).

In any event I was taken by a newspaper photograph and decided to attempt my first portrait since relocating to the new abode. This has also christened the new studio.

A closer view

The `Medusa' 16" x 12" Fabriano Artistico Extra White 300gsm not

After a loose but careful drawing using a No7 2B mechanical pencil I first painted a wash of Cadmium Red Light and  some Cadmium Yellow light the red predominant, over the face area, not worrying too much about keeping within the boundaries. The hair presented a problem in that this particular shade of red is difficult to emulate but as I was not attempting a super realistic portrayal I didn't worry too much and used various mixtures of Cadmium Red, Cadmium Orange and some Burnt Umber added to darken the mix. I partially painted the hair on the left hand side and then concentrated on the features. I soon realised my face mixture was too strong and after completing the eyes, nose, mouth etc - and letting them dry - I added acrylic white in places to lighten the face colour. People with red hair tend to have very pale complexions. I then painted the hair using  bold strokes and not being too finicky. 

Her top was Cerulean Blue and the scarf left the white of the paper with splotches of Burnt Umber in various dilutions. The orange splash is Schminke Translucent Orange. 

Finally I added small shadows on the face with a few final touches. Brushes were the two Isabey retractables sizes 4 and 6 together with the Isabey Kolinsky sables sizes 6 and 8. I also used the Da Vinci Artissimo 44 mop but this is proving a problem as, when cleaning, the head is coming out of the ferrule and has to be put back in. This was an expensive brush so this is annoying and may mean I'll have to retire it soon.

All in all an enjoyable session and I rather like the result, although how it will be received remains to be seen.

Shoes, Hats & Bags

This was the subject at today's AVA session. Only eleven members were present, perhaps a reflection of the popularity of the subject! However the hardcore were there gritting their teeth but ploughing on nevertheless. Actually I'm joking as the subject didn't seem to faze anyone that much and there were a variety of reasons for the low turnout.

Yvonne Harry setup

Pat Walker

Yvonne Harry

Not sure whose this is.

Jo McKenna

John

Helen

 This was my setup

Initial Contour Drawing

Fabriano Schizzi Sketching paper A3 120 gm (56lbs)

I was unsure what I wanted to do so decided to just do a drawing on sketching paper. Once it was finished - by my standards anyway - I had so much time left I decided to add a little paint. On it went and eventually finished as shown above. I did think it was going to be a disaster as my approach was half-baked to say the least but in the end I don't think it finished too badly. The whole thing took about an hour with several breaks. I used two brushes, the Escoda retractable Kolinsky Size 12 and the Rosemary retractable rigger. Colours were, Burnt Umber, Raw Umber, Raw Sienna, Quinacridone Gold, Cerulean with some Ultramarine Violet and Viridian in the background plus a little Quinacridone Rose. I also added some pen and ink, not something I normally do, to give it a more defined look.

Painting Colorful Birds for Fun

As regulars will know I have contributed in the past to the Facebook page `Painting Colorful Birds for Fun'. This was initiated by the artists Robin Berry and Gerard Hendriks. Up to three months ago I made several contributions, some better than others. With all the trauma (I promise I shall stop referring to this as it is becoming tedious) of selling and buying houses, and finally moving to a new home, my painting suffered badly, mostly by not happening. I can't afford to slip back too much as it remains poised on a knife edge. Finally the `studio' is almost complete - just a few things to refine it - so I want to get back to painting and/or drawing at least three sessions per week. The following birds are the result of a drawing I made over three months ago and I can't even remember what species they are, other than being exotic. The subject at the AVA meeting last week was `A Misty Day, and as usual I finished early. As I had brought the bird drawing with me I painted it in the remaining 30 minutes. 

16" x 12" Gerstaeker No.3 90lb Not

The paper is a cheap cellulose one from Great Art but is okay for this type of study, although better quality paper usually improves (not always!) the result. As you can see the birds are very colourful with presumably male and female represented. Blues were Teal Blue (Daniel Smith PG50) and Cerulean (Rowney PB35). The greens are mainly Hookers (Graham) and a little Sap Green also Graham.. Ivory Black features as does Quinacridone Gold (Daniel Smith) and Raw Sienna (W & N) I'm not sure which red I used but the purple is a mixture of Moonglow (DS) and red. Not great but  a step in my `comeback'.

Brushes were the usual Escoda retractable Kolinskys plus the Isabey retractable Size 6.

A Misty Day

The subject at the Avon Valley Artists session today was `A Misty Day', Not exactly an easy nor - dare I say it - a popular subject. Still many subjects are difficult the idea being to stretch members beyond their comfort zone. Quite a good turnout with 18 members present. Not everyone painted in watercolour with some pastels and also acrylics.

Jan Weeks - I hadn't realised that Jan rarely uses a photographic reference

Kathy Wilkins

Pauline Vowles

Yvonne Harry

The above is my effort with the first stage above it. I used mainly Ultramarine Blue with mainly Burnt Sienna for the greys and darks in various dilutions. The greens are Hookers Green and Sap Green. Brushes were primarily the Escoda retractable Kolinsky Size 12 then switching to the number 10.  The actual painting shows greater contrast than the reproduction above.

More Paintings - Mostly Buildings

Here are more paintings I like or find interesting. I have mostly grouped them under the heading of `buildings' rather than landscapes or townscapes. They are in a variety of styles of which some may appeal and others may not.

Gerda Mertens - the Belgian artist  also noted for her distinctive treatment of trees.

.

Christian Couteau - A quite abstract style with really bright colours. His other work has the same approach. Reminds me of John Palmer. Red and yellow feature in many of his paintings. 

Grzgorz Wrobel - Strong contrasts and use of shadows.

Kees van Aalt. The author of the seminal `Realistic Abstracts' and promoter of this different way of seeing. 

Mahmoud Samandarian - a more conventional painting with great use of figures.

Mika Toronen Look how the orange and red of the car brings this otherwise dull painting to life.

Milind Mulick - How about the red figure!

Orhan Gurel - Another semi-abstract approach note the figure.

Ping Long

Tan Suz Chiang

Vikas Mishra

Another from Kees van Aalt  I like this better than his previous one. Again I can see similarities to John Palmer. 

I don't know much - if anything -about some of these artists but searching might produce more information if you particularly like them. The paintings show many different approaches.

Autumn Still LIfe

This weeks subject at Avon Valley Artists session today was an `Autumn Still Life'. This was more to my taste, and produced an interesting and colourful crop of paintings from the twelve members present. 

This week we had a guest artist, Jan Weeks granddaughter Evie. Actually I gather her name is Angelina but she is known as Evie. Following in her grandma's footsteps.

This was Evie's painting. As many will recall my granddaughter is also called Evie.

Pat Walker

Not sure ???

Again not sure???

John

Clive Brotherton

Jan Weeks

Yvonne Harry (unfinished)

Waterford Rough A3 140lb (300gsm) 

The above two photos are of my effort. The first at a very early stage. Why is it I often prefer the paining when it is half or even less finished? I mostly painted it with an Escoda retractable size 12 Kolinsky sable. Essentially is was some fuchsias and hollyhocks plucked - very hurriedly - from the small courtyard garden of my new home. I only had two apples and decided to paint them as they were, and not add any imaginary ones. I was quite pleased with it but perhaps overdid the colour of the hollyhocks in the centre or slightly off centre. Colours used were Quinacridone Coral, Quinacridone Rose, Sap Green, Green Gold, Moonglow, Quinacridone Gold, Cobalt Teal Blue and Cerulean. I think that's it, a mixture of mainly Daniel Smith. Graham and Rowney.