Streetfighting Men WIP

(Photo taken in Dubrovnik)

(Sketch worked up in Photoshop from traced photo)

(WIP, with some paint and collage added)

This is a painting long in the gestation. I took the photo on holiday in Dubrovnik in 2012; the men were quite a long way off and the photo definition was really poor. So poor that when I tried to enlarge it in Photoshop it became hopelessly pixellated and I gave up on using it for a few years.

More recently, I bought a lightbox and tried tracing the printed photograph, scanned the tracing into Photoshop and then added some colour.

The next stage was to square it up on a 10 x 10 in. board, then add some collage. For that I dug out an old piece of an etching I'd saved from the Print Room bin at University (30 years ago!) - hence the curious round shapes at the right produced by someone's finger print on the etching plate's soft ground.

At the left I stuck down a torn fragment of a sheet that had contained a Gestetner stencil (science fiction fans will know all about those!) I'd use to produce a fanzine even longer ago. Who said stuff doesn't come in useful?

The stairs in the foreground have been started with some pieces of paper torn from a Sunday magazine supplement. 

The collage additions have produced a few challenges for the development of the painting. Hurrah! I like a challenge.

Mint Street Recovery

Mint Street WIP

(acrylic on board, 25 x 25 cm)

I'm pleased to say my solution for eliminating the annoying Sharpie lines worked. Using acrylic matte medium, I pasted down two layers of very thin paper so that I could see the general outlines of the painting, then re-established the main colour areas. 

Tidied up and corrected with a few Posca Pens (which is why you should ignore the rather insistent blue lines), it feels ready to to be taken forward. The little man outside the shop has become a ghost, but I expect he can be summoned into life again.

Still Life Doodling

Still Life Doodle (WIP)

(Acrylic on board, 10 x 10 in.)

I still haven't decided on a method for preserving squeezed-out acrylic paint at the end of the day, so rather than simply scraping it off the palette and throwing it away, I've been painting it randomly onto small boards. 

Last night, I was taken with the idea of trying out a painting idea on one of these prepared boards, using one of a couple of still life doodles I did recently. I think it has potential.

Still Life Doodles

(Marker on paper, each image 3 x 3 in. approx)

Knife Painting Workshop

Knife Workshop WIP

(acrylic on watercolour paper)

This is the result of an interesting workshop this afternoon, led by my old friend Tony Montague. Using one of Tony's own photographs of a garden whose name I've forgotten, this was done with heavy body acrylics and a couple of painting knives. No brush, other than to lay in some base colours on the 140 lb watercolour paper, and me very much out of my comfort zone.

It took me until the coffee break, when I stepped away, to recognise the better aspects of this painting, and I was very grateful for Tony's later offer of a pot of fluorescent orange that helped make it sing a bit.

This was my first use of heavy body acrylics and I was surprised to find that parts of the painting were still wet when it was time to take it home. All my recent experience of acrylic painting has been with standard, flow formula and fluid acrylic, all of which dry frighteningly fast.

I quite like this painting, but it needs cropping and I'm already thinking about how it might be improved with a brush and some other colours.

Chinese Bamboo

Bamboo (detail) (Chinese ink on Xuan paper)

Today I finally overcame the obstacles preventing me from attending a meeting of Gateshead Art Society. As I've explained previously, I won't be able to work in oils there so water media of some sort will be what I have to get to grips with. Finding subject matter to work that way and a general mental resistance have held me back, so when I realised that today's session would consist of a workshop in basic Chinese painting techniques I figured that that at least would relieve me of the need for subject matter.

The tutor was enthusiastic and demonstrated the basic strokes for painting bamboo stems and leaves very clearly. I have to say, however, that by the time I'd covered the (quite large) piece of paper with bamboo and leaves, I'd probably had enough of bamboo. What I did enjoy was using the brush and learning how to get the best out of it.

When we finished the session by learning how to do the "8 stroke panda" I began to lose patience a little. While I understand the tremendously long tradition behind this kind of painting, it goes against all my instincts to learn a "how to" technique to paint anything. It's like students I've heard asking "How do I paint a tree?" or worse, tutors who tell you "This is how to paint a tree." You learn how to paint a tree by looking at it. I guess you learn how to paint a panda by looking at it too.

As painting an 8 stroke panda was on the cards, I did one. But it looked lonely, so I painted two more. If only there was an instruction on how to paint a bowl of porridge.



Pandas (Chinese ink on Xuan paper)

Sketchbook No.2 (#6)

Still Life, Hotel Sirius balcony, Madeira - 14 August 1992
(2B mechanical pencil in A4 sketchbook)

The day after drawing this table of stuff on our hotel balcony, I decided I'd have a go at the hills to the north of the hotel:

Hill above Funchal, 15 August 1992
(Watercolour and oil pastel on 7 x 9 in.watercolour paper)

Some time later I put the two together and made this painting:

Madeira (Oil on board, 28 x 14 ins)

Not entirely successful as a painting, but it was important at the time. It's still on my living room wall.