I have been working on a more involved painting of late, that, and family visits, have held me back, so all I have to show are my recent life studies done at the sessions I go to.
I am finding the poses very tedious and not very demanding or imaginative. Too much sitting stiffly in chairs for my tastes. I did get my oar in last week and managed to set the pose and got Arthur in a lying pose.
At least we had a different angle to work from, though I dont think I did it the justice it deserved.
Then on Saturday the organiser was sorting out something interesting when someone came in and made a request for a sitting pose with Eve reading. I wonder if these people ever look through the drawings they’ve made and see sets of identical drawings with people in the same pose.
And another sitting figure. This guy moved the hand that rested on the thigh and had me making changes, not realising what he had done, that ended up with a rather swollen thigh. At that point I gave up and got the early train home.
The other week when I went to get some reference material for an upcoming show, low morning sun-light exploded in between the leaves and branches of the willow trees which sat in the drainage ditches along the road I travelled on. Fortunately I had my camera beside me and I was able to snatch a few snaps. Even better was the fact that I managed to keep the car on the road at the same time and no passing motorists were harmed in the taking of these images.
I have been assembling and framing the paintings for the show and will be taking them in next week for hanging. I had forgotten about these images until I came across them the other day when I thought that I might make something out of them.
Well, I did say I might do it. A couple of blogs ago I showed the mouth of the Mersey from Formby where last weekend we sat in the sun and ate our sandwiches with our French friends. This was the next day, in south Liverpool, looking across the river ( as opposed to the estuary, the day before). The weather was also different: the rain forcing us to eat our sandwiches in the car. Still, we had a walk and returning to the car the sun was breaking through the clouds in the late afternoon, highlighting the tops of the water’s ripples and contours of the exposed mud.
We had some French people staying with us at the weekend and on Saturday we all set off for a walk along the woodlands, dunes and coastline to the north of Liverpool. It was a warm, glorious day and at lunch time we descended the dunes and had a picnic on Formby beach. Probably the last opportunity this year to do such a thing. This was the view as we searched for somewhere to settle down to eat.
The next day the weather was markedly different as we walked along the Mersey in south Liverpool. We had to find shelter from the rain and had our lunch in the car. Though later in the day, as we were leaving, the sun broke the clouds and the exposed Mersey mud glistened, allowing the Oystercatchers to find their evening meal. I might have a go at that view in the coming days.
The session organiser gave the model a Rubik’s cube to focus on for last Saturday’s session. He declined the challenge to solve it.
Here is the same model sparsely painted in acrylics a couple of weeks ago. It was done on a yellow base I used it just to give me a tonal background to work off. The model was taken with the colour as a possibility for his living room. I sent him the details later.
I did intend posting a new watercolour, but with distractions and problems it has drifted behind schedule, so here are some paintings from recent life sessions. I decided to revert back to tonal work with conte pastel pencils for this. To get some darker darks I introduced a black conte crayon which was a bad mistake.
I liked the power I achieved with the pastel on this one. I find a lot of the time my pastel work lacks authoritative punch. With this in mind I am thinking of going on a figutative workshop with someone who does strong pastels. I am making some enquiries at present.
This is what I mean in getting a scatchy effect which lacks punch. I start off with a few colours and cover the paper in a random fashion before working into these marks with the drawing and more layers of pastel. It does give dynamism with the early colours breaking through the later marks, but I am dismayed by the saturation particularly in the areas defined by the earlier marks.
But then that is the point of experimenting with these approaches.
I was intending on doing this in watercolour, but I enjoyed working on the pastel I did for the previous post and the pastels were still out on my workplace – so why not. I hear many times from bloggers that the photo doesnt do justice to their work. Well here it’s the reverse. This shot flatters the actual painting. It makes it almost presentable.
I’ll leave it alone and see how I feel about it in a week or so. In the meantime it’s back to watercolours.