mixed media seascapes on paper

Across the Beach,Early Evening. mixed media on paper. 16 in sq. Vivien Blackburn
acrylic ink, acrylic paint and charcoal

A view across the beach in the early evening, warm tinted clouds, pools reflecting the light and the rocks - heavcn :>) if only I could win the lottery and live there.

The light was terrible here today, grey and dismal - and I need a decent light to finish those ongoing canvasses as I need to look at them from a distance as well as close up. I thought I'd work on paper and work close to the window. I finished (I think) the one above

The following one is at a mid-way stage.

work in progress, approximately 18 ins tall
acrylic ink and acrylic paint

The last one may have some touches of pastel added.

acrylic ink, acrylic paint and charcoal. Vivien Blackburn

.


.

Comments

Julie said…
I particularly like the format of your final painting Vivian. I enjoy painting myself but have been sidetracked into textiles. Your work is making me want to paint again! :)
8:38 pm
Shirley Anne Sherris said…
Hi
I love the turquoise blue in the top one and I can see the reflections in the pool..
I have a thing at the moment for tall thin and wide letterbox sized pieces which is why I like all your tall thin paintings .Concur about dull days and bad light - when the light is good I see that I have chosen the wrong colours. I don't care what they claim about daylight lighting - it just isn't!!
Here's to some better days - lightwise at least.
Cheers
Shirley
9:30 pm
vivien said…
Hi Julie :) thanks

I do like textiles and often think of experimenting with them but just don't have the time :(


I used to make rag dolls when the girls were young, amongst other things.


Shirley I love blues! and I like working in a long thin format - but I also love the squares.

Yes, the colours just don't work right under 'daylight' bulbs or other artificial light :( and I find daylight bulbs a depressingly cold atmosphere to work in too.

Roll on Spring!
9:50 pm
Lindsay said…
It's lovely to see your mixed media pieces. Good combinations. I'll have to try those together.
Hope you have light to work on your large canvases soon.
12:28 pm
vivien said…
thanks Lindsay :) - I think you'll like using charcoal with acrylics - if you haven't used acrylic inks do try them as they are beautifully translucent.
7:20 pm
William F. Renzulli said…
Across the Beach really holds my attention. The dark outcropping (rocks?) in the upper left provides great contrast to the rest of the painting.

Your mixture of mediums is interesting.
10:29 pm
vivien said…
Thanks William - yes it's a high cliff with a sloping top but largely silhouetted against the sky - the sun sets over the sea later :)
6:33 am
Making A Mark said…
These are looking even more luminous with a dark background. What sort of colours are you currently using for framing?

Plus - thanks for sending me some new readers. Maybe suggest they bookmark the squidoo site for links to all the composition posts in once place?
1:52 pm
Linda Blondheim said…
I love the first image, wonderful. I like painting on paper too, with guauche,casein, oils and acrylics. There is a unique quality to opaque paintings on paper. I enjoyed your blog.
Love,
Linda

www.lndablondheimartnotes.blogspot.com
5:51 pm
vivien said…
Thanks Linda :)

and Katherine :) I stay with the pale off-white mat and limed ash (very pale) frames because the buyers like the open air freshness and they are usually hung on white or off-white walls - that makes the colour glow and the frame take a secondary place.

They do glow against black but a black frame would overpower them too much IRL - hung unframed on a black wall would look great!!

yes I'll mention the squidoo lenses to the students :)
7:33 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