still life revisited

Blue, Viridian,Rose, Lemon and Bronze,  16 ins square on paper

This one is based loosely on previous colour pencil still life experiments shown here on the blog earlier - but bigger and bolder and using water based media.

I didn't want to do a traditional set up so the elements are moved around, abstracted a little, colours intensified and the division between pattern and reality blurred.

The original coloured pencil sketches are here ,  here,  here , here  , here , here and here.


What do you think?


 

Comments

Lisa Le Quelenec said…
I like the development of this, the echoing shapes and rhythms lead the eye gently around. Squinting I can see a strong tonal pattern too. Just wondering if possibily the lemon shape needs slightly toning down on one side? Maybe bottom right? It might just be my monitor though.. Have you been using inktense in this one?
8:10 am
vivien said…
it's part of 'secret project' so I can't say yet!

You could be right about the lemon - will look again at it IRL and think about that.

Thanks :>)
8:13 am
Ramya Writes said…
I am good at pencil sketching. Your art is at a completely different level. Loving it. I will be following your works.
3:09 pm
vivien said…
Thank you Ramya :>)
10:01 pm
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