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An Invitation to the exhibition
I'm taking part in an exhibition at the weekend with friends - we meet up once a month to critique work in progress and generaly discuss art matters, exhibitions and arrange to go out to exhibitions or sketch and a couple of times a year we put on a a show like this.
I felt like having a go at another lino print yesterday and got the fish above cut. It's just a fun graphic one, stylised, no observation at all I'm afraid, unlike Jeanette, who is doing a series of gyotaku fishes. Though I did remember from wildlife programmes that fishes are often reddish underneath and silvery on top to camouflage themselves from predators.
Rather than leave the lino the oblong shape, I decided to cut around the fish. Lino scanned and the image cleaned up
This one is simply playing with transparent layers of colour
This one involved applying a gradient colour in a lower layer, erasing the white background and painting colours on a layer below the fish, allowing the colours to shine through.
I find that simple traditionally printed lino cuts don't suit my work so I'll use oil paint when I have time to experiment with printing this one. Then I'll be able to use a mix of colours.
This is a page of watercolour studies of pansies, not intended to be 'a painting', I did a while ago that I came across.
It's a grey rainy day and the light isn't good to get on with the canvasses so I decided to try to pull it together as a composition. I used a bit more watercolour and coloured pencils and cropped it and added the soft blue green background to cool it down a little - the colours felt too hot. The deep dark pansies were really velvety and intense and maybe not the colour scheme I would have set out to use with the orange and pale yellows - but the background helps to knit them together. Bringing the soft mauves into the darker flowers also helped.
I also took another look at a mixed media woodland that was unfinished and worked a little more on that.
It has a little oil pastel in the early stages, watercolour and then coloured pencils.
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 through, interested…