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Reeds and winter branches, Groby Pool
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Reeds and winter branches, Groby Pool. Mixed media. Vivien Blackburn
A quick sketch of that filigree of tangled branches and reeds against the water, done in acrylic paint, ink, biro and pencils. It was COLD!
Take a look at this on somebody else's blog where they've got the image coming up. The widget crops in still further and I think I like it even better - maybe because (as discussed last night) it becomes slightly less real and a bit more abstracted?
I'd love to see you do more like this - you obviously have a thing for tangles!
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?
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, w...
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...
Comments
I'd love to see you do more like this - you obviously have a thing for tangles!
Yes, I like it cropped tighter too Katherine - and on a large canvas :>) and more abstracted