Hedgerow ~ Acrylic and pastel on canvas (50x50cm)

 

Loose, a highly textured surface and pastel

Towards Glynde, East Sussex ~ Acrylic and Pastel on canvas (120 x 100cm)

 

After a chilly dawn in the snow, working with more washes - here is the completed canvas. I added pastel here too, which I find an exciting way to accentuate texture. It is then sealed with spray W&N satin varnish, so as not to disturb the delicate strokes.

 

Apologies for the resolution of the image - my camera is still playing up! :(

The Sussex Weald - Acrylic on canvas (120 x 100cm)

 

I love it when the sun comes out. I can paint freely and happily - without having to watch paint dry! This is largely why I work in acrylics, as I like to juxtapose very thin washes with thicker gestural strokes. I build up many layers of wash to obtain a complexity of colour and will continue doing, in stages throughout the paintings journey.

 

I used to work in a very similar way in oils - but it was such a slow process and was often almost high on the turpy fumes! Not so great. Acrylics are so much more sophisticated now and dry to much better finish. I favour Golden and W&N, but I also use good old System 3 to build up the surface. Actually I quite like the fact that you can see the colour in the tub at a glance - saves me rummaging for too long.

Silver Birch I ~ Watercolour and Ink 106 x 86cm

 

I am continuing my work on a series of paintings inspired by winter trees and the Ashdown Forest, Sussex. I have been using watercolour and ink to describe the myriad of textures and subtle and often surprising colours.

 

This painting will be exhibited at the Ashdown Gallery next month.

 

(Silver Birch I ~ detail)

Silver Birch II - Watercolour and ink 56x38cm (unframed)

 

To the wonderful Ashdown Forest for inspiration and back to watercolours, as wanted to explore the wonderful textures that can be found when using watercolour and ink (in this case nut brown Windsor and Newton). I have always had a fixation for the natural beauty found in tree bark, so loved working on this piece.

 

 I have included some details below to illustrate the techniques further...

 

 

Scarp Slope, Ditchling Beacon - Acrylic on canvas

 

I have always had a deep interest in the 'layering' of landscape; the contrast between the wilds of nature and human intervention through agriculture, settlement and trade. It has been a recurring theme in my work for many years. Even back during my art school days in East London, I was fascinated by nature's reclamation of large areas of dockland (it seems that Westfield is winning that battle now though!) This relationship between human activity and nature is clearly seen from the top of Ditchling Beacon, where views over the Weald of Sussex are just glorious.

 

My method follows a similar approach, layering and washing out areas of the canvas and I aim always to find contrasts in mark making. I am ready too to obscure already successful parts of the painting in order to push the final piece. I am never precious! I ensure too that colour is woven throughout the surface, encouraging the eye to travel along the chalk path.

 

Finally the image is not great, my main camera is not playing ball at the moment and needs to go off for a little break to the camera shop...

Cockerel - pastel demo

I demonstrated pastels to the lovely Crowborough Art Group yesterday and this is the result. I have to say that I couldn't resist tinkering with it a bit at home, adjusting the tail feathers and working on the background.

I used my favourite Fisher 400 paper to convey just how flexible pastels can be; scraping in details, adding water to the surface and layering colour. I use Unison pastels in the main. I love the balance of fine pigment and find that they are fairly robust. I do love Sennelier too, but although the buttery softness is very seductive, I do look back at what is in my hand and find most of it has turned to dust. I reserve these for blending on a softer surface. I do add a little conte pastel just here and there when a bold narrow line is required (around the bird's eye for example).

 

Note the detail in the cockerel's eye. Here I used conte pencils in pinks, red, burnt sienna and a dot of black for his pupil. I used a shard of white Unison for the highlight.

 

Scraping

 

I do find the best way to achieve a sharp, thin line is to use some sort of tool to scrap away pastel. Anything will do, a stick, the end of a brush, a feather, an unfurled paperclip ... even my broken off piece of aerial. Do not use anything too sharp though, scalpels for example may cut the paper, certainly you and could break off under pressure.

 

This technique often needs a little planning. Look carefully at the subject and decide on the colour required for the line. Apply this colour to the Fisher 400 and rub in well. Next work over with the surrounding colour and scrape away. see the tail feathers below.