and another portrait

copyright Vivien Blackburn


And another portrait sketch of my daughter, a little younger this time, leaning on the back of a chair while we had a drink somewhere - she could never sit still! - and wondering what to get up to next - it usually involved hanging from a high branch on a tree with one hand saying 'look at me' - eventually I stopped worrying!

One year when she was about 8, we were in Plymouth and there was a big event up on Plymouth Hoe (a gorgeous big grassy area overlooking the fantastic harbour entrance and right near the town centre). The army had a high climbing tower with tiny ledges widely spaced, that led onto rope walks and those high rope slides.

We stood and watched as much older boys struggled and took ages to climb it. She watched and wanted to have a go - the soldiers were a bit unsure but let her have a go - she went up zoom like a little spider, flew through the rope walk and the slide and left the soldiers, who'd been expecting to have to rescue her, open mouthed!

I think I must have been subliminally influenced by Julie Oakley in doing these portraits http://afamilyportrait.blogspot.com/ She is doing a daily portrait of members of her family and self portraits - there are some great sketches there. Her children are still at home so they are from life, unlike mine. which uncharateristically for me is from a photo.

I wonder if I can persuade daughters to pose next time we visit? I was quite pleased to find that I can do a free sketch from a photo though, not becoming too literal and bogged down in unimportant detail.

Comments

Robyn Sinclair said…
I find myself misting up with this little story of pride and love. Charming sketches, Vivien.
8:31 am
vivien said…
:D thanks Robyn
9:02 am
Post a Comment

Popular posts from this blog

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, with some of the taller dried grasses showing
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter
Read more