Hopefully we will soon return to this
Meanwhile, I'm about half way through my Pen & Ink drawing.
Sunday, 4 March 2018
Rechteren Castle, Holland John Simlett
Pen & Ink on 350 gsm paper
11 inch x 9 inch
(280 mm x 230 mm)
I drew this picture 38 years ago and it was the fourth drawing I had ever done in my life, outside of Geometric and Engineering drawing. It was a significant drawing insofar as it indicated to me, and others, that perhaps I should take it all a little bit more seriously. It was then, this drawing that 'sorted me out.'
At the moment I need 'sorting-out' once again. For many reasons, not least that my wife is physically disabled, I am unable to get continuity in anything I do. When I do get free time, I seem to be unable to focus long enough to carry a project to a conclusion. Half-finished paintings litter the studio.
As a solution I am undertaking another pen and ink drawing of some complexity. I haven't drawn for ages as I got seduced by painting - and the influence of many of the painters you may see in my 'Blog Roll.' A drawing, therefore, will be a complete change.
Pen & Ink, as you probably know, is very unforgiving: there is no way back from a mistake. Focus and discipline have to be continuous and I think that is what will 'sort me out'. We'll see.
Sunday, 11 February 2018
I like flags.
sail is Flapping
not for sale In the wind.
you may find Makes one think
that you need it Of flying far off like
rather badly in a Some Albatross set free
wind or in a gale From land and those grassy ties
I and without it find That shore can bring, although I do
do others quickly up your tail Like being a landlocked Shipwright it's part
boatbuilding it's my
such a large part of my life. I love the smell of the wood as I cut and plane it.
Listen to the music of the parts that go to make a boat, each such poetry:
tumblehome and transom; hog and hogson; apron and the thwart
gutter and garboard strakes of planking: clinker & hard chine
but alas, without a keel,
where would we be?
capsized and upside
Friday, 9 February 2018
Friday, 2 February 2018
Tried a lot of experimentation with this one (a) Painting it almost mono although I used burnt umber glazes to soften edges and give the suggestion of a secondary light source - top left. (b) No eyes - and I always make them the key point of a portrait ... similarly the hair.
| Logan's Light John Simlett|
27 x 19.5 inches
Oil on stretched Italian linen
The photography does no favours (favors).
I tried to soften everything except the two focal points, the light and the face.
Given the degree of difficulty I'm reasonably pleased. As always seeing it full size is best.
Friday, 26 January 2018
Wednesday, 24 January 2018
For those who don't know me, I am in reality a pen & ink artist who was seduced into painting by my friends hereabouts. Quite unexpectedly I feel the urge to do a bit of drawing again ... wonder if I will and wonder what I'll draw.
Tuesday, 23 January 2018
I have made a start on my latest, and here is the first part of the underpainting using only raw umbra.
|27 x 19.5 inches|
Oil on stretched Italian linen
I always rely on the eyes to make my portrait work, here the eyes aren't visible so quite a challenge for me. As if the lighting wasn't tricky enough.
I'm letting it dry out overnight before completing the underpainting tomorrow.
I really do love the Pre-Raphaelites and am trying to paint under that influence. The two paintings influencing me here are Holman Hunt's Light of the World' E R Hughes's Midsummer Eve. Hughes was Holman Hunt's studio assistant .
Saturday, 20 January 2018
You have probably seen the Pre-Raphaelite painting 'Light of the World' by Holman Hunt, in which the light source comes from below, casting unusual shadows on the subject. It is my intention to paint a portrait of my great grandson 'Topgun' (Logan) using a similar light source, from below, that all but blots out his image with shadow.
To complicate the issue I shall use oils, and paint it in mono - yes black & white (ish).
I've made a start by sketching out the basic image, in which a nighttime scene shows Topgun holding a bright light in his hands and looking down on it. I have used the grey (gray) grounded canvas I showed you in the previous post.
I have set myself an impossible task here, but at worst I will turn a grey canvas into a black canvas and nobody gets hurt in the process. If it works then it will match the portrait of his dad, Max, that I painted last year
Why I have to complicate life with next-to-impossible tasks I don't know ... it must be pre-programmed into my DNA. For example, I am about to turn-over the wooden Maine Lobster Boat (Seagull) I am building:
The easy way to turn it over is by using 10 strong men! I want to do it single handed next week. I don't have the foggiest idea how though ... I can't wait to see what I do.
Monday, 8 January 2018
It might not seem a lot to you, but the canvas shown here is, "One tiny step for mankind, one huge step for me," as it is almost 12 months since I last painted, for many and diverse reasons.
This 27.5 x 19.5 inch (700 x 500 mm) Italian linen canvas now has a thin wash of light umbra acrylic on it. I have also marked in the vertical and horizontal centre-lines with a pencil: my portraits tend to end up off centre without this aid.
That's it folk, that's all the news... but heck ... "mighty oaks from acorns grow", "Rome wasn't built in a day", "slowly, slowly, catchee monkey" ...................!!
Who knows, I might just remember how to paint a portrait.
HAPPY & ARTFUL 2018