paintings prints and stuff

Evening Light, Winsor and Newton Gouache and Derwent Artbars in the A4 Stillman and Birn Alpha sketchbook. Further experimenting with gouache, Derwent Artbars and Stillman and Birn sketchbooks. This was a demo to students about the benefits of working on a dark background when painting moody scenes.   I scribbled various deep colours with the Artbars and then washed them into a streaky deep background.   Then with gouache I worked over it - thin glazes and thicker paint - then worked back in with the Artbars in places.  Leaving parts of that dark background as tree trunk, far trees, some of the field, scratching through to the darkness below for fine lines and marks.  The pale flowers in the foreground were done with white gouache, flicked from a bristle brush to keep the marks random and free.  The combination of media worked well with lots of  variation in marks possible.

New born: very quick sketch of Charlie at 15 hours old, pencil in Stillman and Birn Gamma sketchbook This is one of the reasons I've been absent - new arrival Charlie, my youngest daughter's first child :>) Other hospital stuff also going on with more sketches to follow and hopefully I'll catch up with the series I was writing.

Undergrowth: mixed media on canvas, 5ft wide x 2 ft tall  Katherine Tyrrell asks an interesting question on her blog today questioning  the scale in which you work and whether you work to standard sizes. She makes some very good points - but on conclusions I differ somewhat.   For me it's important to work to the size/format that suits you composition - and hang the cost!  (her first option in her poll)   Not because I'm wealthy - I'm quite the opposite!  Just because I think it's important that every bit of your chosen area matters .   I see so many good works ruined by an insistence on keeping the full size/format of the paper in order to fit existing frames : >(.  It means that parts of a composition are spoilt, areas sit there not earning their keep, destroying the tension of the composition.  Once students learn to crop to suit the work, and not their bargain frames, their work looks so much better : >...

Trying out Derwent's inktense, watercolour pencils, Graphitint, Graphitone, Artbars and more on their new watercolour paper pads Derwent Watercolour Paper Derwent have brought out some new watercolour paper pads , perfect for their water soluble pencils and crayons.   It's 140lb which is heavy enough for the amount of water I'd normally use with these - I wouldn't normally have huge wet washes. I tried out sketches of items from my sketching roll and various coloured pencils and crayons.  All worked really well, the surface was a delight to work on with colour flowing freely, with the potential to lose or keep marks as I wanted. Products used here were  Derwent watercolour pencils Derwent Inktense Derwent Graphitint Derwent Graphitone Derwent Artbars Derwent Aquatone Derwent Charcoal Pencil Rotring Art Pen ....  with sketches of their electric eraser, sharpener for pastels and waterbrush, just some of the things from my pencil roll ...

Across the Fields near Great Bowden A4 Stillman and Birn Alpha sketchbook, willow charcoal and Derwent charcoal pencil A charcoal sketch on a hazy but sunny morning with layers of spring growth.   First the long grass and cow parsley of the verge, some light against dark, some dark against light.  Then the hawthorn hedge - a complex mix of light and dark and gaps between twigs where the field could be seen through.  Then a field of growing wheat, a further hawthorn hedge, a bright yellow field of rape, a further hedge beyond which the land falls away to a valley -  and then the far hills, blue and hazy with a few distant fields outlined by more hedges and more yellow rape.  On the right a distant wood looking deeper blue.  Patern and tone. I had actually gone to sketch more sheep but they'd been moved to another field. Every year I mean to sketch the fields when these vivid areas of bright yellow are there and usually don't make it in time....

Quick sketches of sheep and lambs in the fields nearby using Derwent Graphitints, water soluble pencils Quick sketches  of a subject I don't think I've ever tackled before.  The Graphitints with the waterbrush are great for quick sketches like this.  I used cloud grey, aubergine and  chestnut pencils mainly, with just touches of others maybe.

Hazy light and glowing rapeseed, near Market Harborough The fields around the south of Leicestershire and into Northamptonshire are currently glowing vivid yellow as the rape is in flower.  When the skies are purple with storm clouds and the sun is still shining on the fields in becomes spectacular.  The day of the photo was hazy and not so dramatic but you can still see the intensity.   I need to get out with oil paints. I've been very busy with work committemnt, appointments and my youngest daughter moving house so no painting going on at the moment.   I will get out though.