Back in the saddle

For some strange reason I've been finding it difficult to make the time for painting just lately.  Can't imagine why.  The bug continues to bite however, and I managed to sneak away briefly to finish off a picture earlier this evening.  It's only a small piece, 7 x 3.5 inches, and hasn't come out all that brilliantly, but if felt nice to be actually producing something again.  I've also sketched the outlines of another, larger picture that I'm hoping to start tomorrow.  If there's no update within 24 hours then you'll know that I've been sitting around admiring my beautiful baby daughter again when I should have been painting!

Origins

I'm going to update where some of these paintings have come from later today, time permitting. It's not too arty and pretentious, I think, to say that there is inspiration all around; in the sheen of the feathers on a starling's wing, the shapes made by the corner of a building, the colours of a cloud. One thing painting does, amongst many, is to make you look at things around you more closely, and so I suppose the whole process just opens your eyes to your surroundings a little more. I'm probably not putting this very well, but sleep deprivation doesn't do very much for eloquence!

Really I should carry a sketchbook with me all the time to capture these scenes and ideas for pictures, but of course I hardly ever do - and my life is too busy to stop and sketch whenever the fancy takes me anyway. I do occasionally remember to carry a small camera though, and so most of what I paint usually comes from photographic references.

Strangely, even though there seems to inspiration to paint almost everywhere (I suppose that dreaded essay subject 'the inside of a ping pong ball' might pose a few problems), it can still be difficult for me to sit down and face a blank canvas, to actually make those first marks and begin to put down some colour and form. I've tried some creative writing courses in the past and felt just the same sort of mental blankness (a mode I excel at!) when trying to find something pithy to jot down on that pristine sheet of paper. Not easy, that creativity stuff...

I should also mention that I don't in fact paint on canvas any more. But saying that I have difficulties sitting down and facing a blank sheet of gessoed hardboard doesn't have the same ring to it somehow! That stuff is a great surface to paint on by the way, it's easily cut to size (and comes in 8 x 4 foot sheets, which should be big enough for most painters), and it's as cheap as chips - more money to spend on those expensive cadmiums!

Inspiration

The last few days have been a little busy, as you can imagine (see my previous post if you're wondering why!)  But I now have just a few quiet minutes on hand so thought I might add a quick update, by listing links to the websites of some artists whose work I particularly enjoy, and also to some art-oriented blogs that I find interesting.

If you know of others that you think are worth a look, then please do let me know.

Our beautiful baby

Jaynevieve Isabela entered the world at 1648 yesterday, the 4th of July.  Appropriate for a little girl with an American 'mom' and a British dad!  Our gorgeous little daughter weighs 7 lbs 9 oz, and baby and mum are both doing well.  We're all looking forward to going home soon (and starting some finger painting maybe!)

Yep, finished

I've decided to call this one complete now.  Messed around with the foreground a little, as mentioned I wasn't happy with the amount of dark paint showing.  Still haven't really been able to capture the effects that Scmid managed to achieve in his painting - but am hardly surprised at that since, he is, after all, a master!  I will try to get a scan of the original in a minute for comparison.

Finished?

This painting is now at that difficult stage where I think it's finished, but am not quite sure.  The foreground is niggling me a bit, maybe there is too much of the dark ground showing through.  I've tried to emulate what Scmid has done, but have found that almost impossible to be honest; his brush strokes are just masterly!

If you have a comment on the foreground - or any other aspect of the picture, actually - then I'd love to hear it.  Suggestions are always welcome.  I haven't been able to find a picture of his original painting online to show you what I'm working from, so will take a scan of the version in his excellent book, 'Alla Prima'.  If you only buy one book on painting then make it that one.  His paintings are truly inspirational, and he has a very easy and readable style as an author too.

For now I am going to let this one sit overnight.  Then I'll take a look at it tomorrow with a suitably jaundiced eye and decide whether I'm ready to sign it or not...

Spindlestone Farm update

Had an opportunity yesterday evening to do a little more to this one (the easel lamp arrived). I've made a start on the foreground, and put in the trees to the left of the farmhouse. I also managed to mess up some of the background trees I think, will need to try and rescue those...

Most of the bright looking colours in the near foreground will eventually be covered up, and I need to add some more trees in front of the farm buildings. So, I think I'd better stop writing about it and get on and paint!

Late evening update:  Got a fair bit of the middle ground detail done earlier this evening, added in more trees in front of the farm buildings, and most importantly managed to fix some of the earlier errors.  There are more in there to get rid of yet, but reasonable progress so far I think.

The later photograph was taken outside in natural evening light, whilst the previous one was from indoors, artificial light.  Remarkable how different the photos look!