choosing colours...

..is something I want to explore more thoroughly during 2024.

I’ve been playing around with weird colour combinations in my paintings - These weird colour pallets I happen across by chance through the painting process. I’ll choose a colour to draw out my design, then choose a lighter or darker tone to add some detail - be that depth or highlights, as part of the initial drawing stage of a painting. This additional second colour is chosen for it’s tone not it’s colour and it’s after I’ve painted with it that I observe what the colours actually feel like together - both how they sit next to each other and the colours they make when mixed together.

it’s not always pretty…

First I painted the green and pink grounds without knowing what I was going to do with it. When I was ready to do my studies I grabbed a dark tone (burgundy) and a light tone (light pink) to draw with, then chose the light green to isolate the subject. The pallet resolved itself during the process and now I have a weird colour pallet that I can use again without a thought, and add more colours to in a larger work.

Colours can change the feeling of a painting - sometimes just layering colours on top of colours helps me find a solution. I choose a colour for it’s tone and warmth or coolness rather than it’s colour, to see if it works but I don’t really care if it doesn’t work well because the layers add so much depth and interest that it’s worth the experiment if I do choose to paint a different colour over the top.

Below is a head I’m working on - on the left it’s feeling drab and messy so I know I need to make a drastic change to the background. I grab a tub of straw yellow gesso and block out the drab.

Why straw yellow? I guess it sort of jumped out at me when I looked through my pile of paint. I’ve used it before in a background so I know it’s a workable background kind of yellow… …so having put some down I don’t mind the yellow even though it needs refining, So now I’ll continue with the face.

Working on the face I’m using the pallet I started with, not adding any of the straw yellow, I will keep that seperate. This creates a “pop” factor rather than a harmony thing. Sometimes I like harmony and will limit the pallet to get that and mix all the colours together to make all the tones, both in the background and in the subject.

finishing… this little portrait was a matter of refining what I’ve already got and adding more layers of the same to add depth and to neaten it up so that the general visual effect isn’t messy and chaotic, but there’s still messy marks to be seen as you look more closely at the work. A sweet spot between chaos and order kind-of-thing.

Another thing Ii want to look at again is the difference between photographing my work with my phone camera and my Nikon DSLR. I’ve noticed the Nikon makes a much softer photo while still showing the detail, where my phone exaggerates everything. The Nikon shows the painting more accurately to how my eyes see it in real life at a normal viewing distance, and the phone shows it as if I was looking at it really close, like a nose distance away, with strong light so is better for viewing on a phone and in thumbnail situations, where the Nikon is better for viewing on a large screen and making printed copies I guess.

check it out - Nikon 59mm macro lens on the left, phone camera macro setting on the right.

The end.


Content...CONtent...conTENT

For the last year and a half I moved my blog to the Substack platform, mainly to make use of their subscriber features and to see if I preferred it to my own blog setup on my website. Today I thought I’d return to my website blog to see the difference.

Writing blogs, making youtube videos, posting art pics and making short form videos, like reels, is interesting and alot of fun for me. I do enjoy creating the content side of things when it comes to my art practice.

So, now that I’m back on my website blog for a bit, I’ve paused subscriptions to my substack. Thankyou to all who subscribed there and I really feel honoured that so many people took the time to read through my stuff.

a little bird told me to

…go back to my website blog…

So, for my youtube offerings in 2024, I set up a painting-live-stream that posts on youtube. Here I’m using two cameras, one to show what’s going on on my pallet and the other on my painting. These live stream videos are long format. (they do go on and on and on…) but they are easy to produce because there’s no editing required. I also like them because the recording is stored on youtube for as long as my channel is up…so I don’t have to record and save anything on my phone (I use my phone to record everything) - it’s like the slack persons way of making youtube videos…so I’m thinking… I could literally and legitimately start my own production company if I use a name like “Terribly Boring Productions.” (smily face emoji)

Another thing I need to remember to do here on my website which I didn’t on the substack blog - and I must say for anyone who doesn’t have a website blog spot but wants one, Substack is an awesome platform - is manually save everything where Substack does it automatically.

I must save…save…and save…as I go.

flowers for Friday.

Abstract marathon...

I took a long run with this painting and managed to capture the journey, so here it is.

The first stages went according to plan…

… but then when I wanted to create some space things got a little weird.

it’s hard to believe it is the same painting I started but them…

…finally I got some clarity when a little bird told me what I should do with it!!

red cardinal

A page a day...

…diary is something I started using at the beginning of this year, and as the year has progressed I’ve found it more and more helpful.

Patty, my sister, told me to write a list every morning - “write the things that need doing no matter how small, and tick them off as you go.”

So, for the first time this year I bought myself a page-a-day diary and I’ve been writing lists on it every day, carrying things over to the next day if I don’t get them done, as well as writing in the things I need to do in advance, like appointments on those days. It’s a great system.

A Busy week

It looked like I might have to miss this weeks blog as I have been so busy this week - I wrote “blog” on my list on Thursday…carried it over to Friday…Sat…it’s now 10:19pm and I’ve completed a painting that I wanted to finished for Monday, and as I have a workshop tomorrow, prepared for that, and had a class this morning that I also prepared for, I needed to do it today…tonight…

a few hours later and it’s done.

Normally I’d retire for the evening by now, I’m reading a good book at the moment “American Dirt” which will probably put me to sleep if I start now, and I need to stay awake until 12pm when I’m picking up daughter no 2 from a party.

The story of the Bison

I needed to paint a painting to replace one that sold in the salon.

“Paint a Bison”, said daughter no 1, so that’s what I did and enjoyed every minute of it too :)

It’s not a very exciting story but the painting itself is exciting which really is testament to the Old Artist’s Proverb - “It’s not what you paint, it’s how you paint it.”

ContinuinG…

…with the visual poetry exploration in-between the other stuff I’m working on. These little poems are, for me, interesting and fun.

Interesting because I’m able to take bits from the past, be them ideas or materials, and marry them with the present. I can weave some kind of story in too, with words. Perhaps I could string them all together into an exhibition, a calendar, a pack cards with recipes on the back, or a book.

Fun because they are small, inexpensive to make and quick to assemble…I can leave them unfinished without worrying about waste, or spend time finishing them depending on how much I’m enjoying the outcome. I can limit the materials I use and create them anywhere, in or out of the studio.

Something old, something new.

The Lobster mornay and creme burlee… they don’t just want to be elected!

The random, abstracted quality of the illustrations allows for some wildly obscure thought, or thought bubbles.

something borrowed

out of lobster., burlee as a concept only

how random can I make this I wonder…

a robot wronged a human as did creme burlee

now there’s a thought - what has humans invented that has been good for the individual, good for the group and good for the environment - like absolutely good with no down side to it whatsoever?

Something blue

the end.

Visual Poetry (Vispo)…

…is a juxtaposition of visual and other art forms, like poetry, performance, typography and storytelling.

“visual poetry works in an intersection between the visual arts and poetic texts.” Says Sarah Jane Crowson

From what I understand, (and to be honest the whole genre is a bit obscure and broad, like poetry itself), the movement originated in the 1920s where poets and artists got together to bend some boundaries. Typography, concrete poetry, asemic writing, sound poetry and digital poetry are some of the sub-categories of Vispo.

Contemporary visual poetry usually includes collage and/or text, and personally I think that these elements create a visual poem when they induce a non-traditional feeling about the subject, and/or add a further descriptive element to the visual experience.

One of my first visual poems was a typographical effort that I printed on a torn out page of an old book, tore that and then photographed it, so my finished work is the actual photographed image.

I also made some visual poem paintings where I included actual poems that I wrote in the paintings.

The Third Oblivion

90x90cm, 2014

Left.

Returned.

A third time indignant trace of

Torn paper bones that

Ached and sighed caught in the rip

Listing the silence

Today…

I’m exploring a smaller (down-sizing) concept of vispo, tiny, some are card sized, poems to conserve and recycle materials. Little reminder poems of how we got here, how things have changed and are changing, and to tribute the joy and pleasure in creating things out of not much, because you don’t need much to create beautiful and interesting things.

Project white on white:

Friday evening and I’ve a class in the morning. I’ll be in the class doing the project and the project is “stillness of white” - a project created by our boss tutor at the little art school I work at - see here. It’s a still life project that is about white on white on white, painting in oils. I’ll teach it later in the week but the purpose of participating in the Saturday morning class is so that I can understand the project and am on the same page as the other tutors at the school.

I’m packing my kit and playing around with white objects.

I need to take my sketchbooks, drawing things and a bit of paint (I like to draw with paint), and some white objects to compose what will become the painting.

objects

I quite like the birdseye view of my pots…problem is that there’s many ways they can be arranged and I like more than a few arrangements.

more objects

I also like the addition of crushed paper, and the gorgeous little round bowl I found in an op-shop yesterday, it’s so fine.

Where to start

the next day, 11:05am - after photographing my still-life (more than a few photos), I want to see how difficult it’s going to be to translate them into a visual work. The quickest way to do this is with some quick sketches using some kind of pencil. A tonal sketch also lets me see how easy the concept is to read. It really doesn’t matter what kind of pencil or pen I use at this stage.

flower in a glass jar is simple and easy to read.

birdseye view of pots is interesting and not as straightforward.

eye view pots are easier to make sense out of than the birdseye view pots. I could also extend the space at the bottom which is handy when choosing a canvas shape.

I will try one in paint next.

quick sketch in paint

…with just a few scrappy marks down made from whatever leftover paint I had in my pallet I can see that this little painting makes sense. A very easy to interpret composition.

The next working…

…requires a fresh pallet with some intention in the colour choices. The theme is white so I’m going to need colours that speak to that, which means that I want to make some greys with enough variation between warm and cools, darks and lights to allow for some subtle tonal sifts.

the next working

Yellow ochre, Burnt Sienna, Mineral blue, midnight blue and white are the colours I’ve put out for my greys.

Next I will do a study of the pots in my sketchbook, or perhaps a larger painting of it on a larger board, 40x40cm, that I’m not precious about to decide on which I will spend more time on which will be my finished painting (hero piece).

A quick sketch in acrylic paint shows me that pots is easy to translate. My hero piece is going to be in oils, so I’ll be able to glaze to get some softness happening to make things more interesting.

I don’t like to repeat myself so rather than do a study of the eye view pots I might do them as my final painting.

for my final painting I’ve painted a square 50x50cm canvas a deep olive green coloured ground to start with. I painted the sides with this as well.

Onto the dark olive green ground I drew up my composition first in chalk - the kind of kids chalk you can get from the supermarket, then I mapped out some tones using a range of blues and brown colours in oil paint.

note the dark coloured ground poking through

I used medium to thin it a little, not solvent because I wanted to be able to move the paint for a long time.

Cerulean blue, ultramarine blue, viridian green, manganese blue hue, sapphire, burnt sienna, raw sienna, red ochre, permanent mauve, Australian green grey, and white.

Using various mixes of these different colours I can get my greys, high, mid and low key greys and warm and cool greys that will create subtle and strong tones as I need them.

My intention with this painting was to show subtle tones and strong tones, subtle colour and temperature shifts in the lightest areas of the painting with some lost edges and interesting brush work. It turned out much like I intended and I didn’t make any mistakes during the painting process.

To finish off and to sate my curiosity I did a little oil alla prima painting of part of one of the photos I took at the composition stage that I rather liked, using the same pallet.

jar of love

30x30cm

Holidays are looming…

…school holidays that is, and although not a huge amount will change for me, there will be enough of a change that I can switch gears and finish a few projects/commissions that I’ve been working on, (well…that’s the plan).

Because I teach/facilitate/tutor some lessons, workshops and/or short courses every week at a lovely little local art school, see here , and a fair bit of prep goes into that, it’s become my priority during the school term. I’ve learnt pretty much everything I know about the teaching process from my boss and mentor Krystyna Ciesiolkiewicz, and then from putting that into practice I’ve developed confidence in transferring knowledge about my craft that I couldn’t have managed all by myself.

I use to be a nervous wreck in front of class where all eyes are on me and I need to speak coherently. Not any more. That’s thanks to Krysh and the years of work and encouraging, correcting, suggesting and commending. We’ve achieved this together.

Creating lessons, short courses and workshops has become a passionate endeavour of mine. They are as creative as the paintings themselves and like paintings they evolve. Interestingly, they don’t get bigger but smaller. A 6 week portrait course can evolve into a series of shorter courses, where different aspects of a process can be explored in depth.

“Why choose those colours?”

Why did I choose those colours?

If I need to be able to explain why I chose the colours I did then I need to understand why, and here my own work becomes less experimental and more deliberate as I literally write down why I choose colours, pulling apart my own intuition, discovering for myself that colour is not a feeling but a formula. I knew it in my heart, just not in the Broca's area of my frontal lobe and Wernicke's area of the superior temporal gyrus part of my brain. It’s a win/win.

My most recent short course finished last Friday - a 2 week oil painting skin-tones course. I was very pleased with how efficiently the participants took to the method and worked with it, creating pleasing skin tones which was exactly what I was hoping for.

It was a lot of fun for me too, not only because the group was so lovely, and the most enjoyable company, but because I was well prepared which is something Krysh taught and re-enforced in my teaching method from the earliest of days. Preparation. Preparation. Preparation…. …and what’s most surprising about the preparation part is that right there, in the figuring out how I’m going to transfer this knowledge to others part, the most interesting discoveries are made and I find myself learning things too.

Art made FROM RecycliNG…

…materials is something I’ve dabbled in from time to time, and it’s something I greatly admire whenever I see it done by others. Sea creatures woven out of old nets and rope found washed up on the beaches. Horses made from driftwood, beautiful baskets woven from colourful plastic shopping bags. There should be more of it.

I try to include a little bit of recycling in my body of work, I should do more, I intend to do more. I did some today.

I’ve had an old frame (I seem to collect them , from the side of the road or op shops when I see suitable ones, or like when my sister gave me a box from a deceased estate auction she went to), I have a little pile of frames and boards here and a bit of a stack there… …and old books, I collect those too, for recycling/repurposing.

I can’t remember where I got the old frame from that I used today, but I love it. It reminds me of those gorgeous ornate frames in the art gallery. I adore those. I don’t frame my work usually, but I love those ornate gold frames. Sometimes it’s the frames, not the painting, in the galleries that makes my jaw drop.

At first I thought to mount a painting in it. I’ve got some completed work on loose canvas sheets in my art drawers, but when I pulled the frame apart I changed my mind and decided to paint straight onto the board. I like painting on board, and in this case it’s pre-cut to fit the frame perfectly and what I ended up with worked really well, I thought.

I didn’t have a plan, and it was a few months ago now that I pulled the frame apart - I tried a few different completed paintings on loose canvas sheet in it and I couldn’t decide on one so I started painting an abstract straight onto the board with left over paint…and then it sat there for a while with a weird abstract start.

Then, a few days ago I had more paint left over so I obliterated my abstract start with it and left that to dry, and then the next day I had more paint left over and that’s when I decided to paint the portrait I ended up fixing in the frame.

check the progress:

Another thing I like repurposing is books. I’ve used them in collage creations:

and I also love keeping them as books and re-writing them entirely, like this vintage stokers note book that has hand written notes and mathematical figuring out stuff in it. I repurposed it into Cupid’s little Black book that I work in when I’m feeling particularly poetic.

My latest book endeavour is a 1931 Beethoven’s sonata music book, gorgeous with a hard cover and the pages are silky smooth and surprisingly tough and wrinkle resistant when paint is plastered over them. This has become my expressive abstract enquiry book, and I work in it when I’m feeling particularly rebellious.

So I’m hoping this inspires you to do some repurposing stuff into art, so some of that stuff that is just lying around with no purpose and destined for landfill will have a purpose again.