non traditional still life variations and maybe a challenge?

Blue still life version 2, watercolour and mixed media with copper metallic Sennelier oil pastel, Vivien Blackburn

Another version from the same starting objects - playing with blue leaves from a vase pattern (top left) and green real leaves (top right), with the pattern of the cloth and plate floating, weaving in and out and elements used wherever I wanted them rather than where they actually were.

Hillary asked if I minded her doing a theme like this with her group and I suggested she leave a link to the work they did in the comments section .

Challenge:

Does anyone else feel like having a go? a challenge? I haven't thrown out one of those for a while.

Have a go at playing with still life items in a non-conventional way and then post a link in the comments on this post and later - about a month or 2??? - I'll do a post with links to everyone who took part.

For ideas and inspiration look at the list of artists on the earlier post and then find some others you know and like.

Comments

Kelly M. said…
Vivien -- love your new still life works and the colored pencils! Very rich! I found myself browsing through Shirley Trevena's books once again (a must for this bleary winter) and thought that I would like to tackle still life (again) -- I'll watch for your challenge!
8:04 pm
Post a Comment

Popular posts from this blog

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, w...
Read more

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

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