Repair Work

WIP
(Acrylic on canvas, 12 x 12 in)

This is the painting I started a fortnight ago, before running into obvious problems with perspective due to some faulty reference material. After painting out the errors in perspective and some further repainting, this is where I am with this one now. 

Here's how it looked before:

Friday at the Club

WIP (Acrylic on canvas, 12 x 12 in)

For reasons which will become apparent in the fullness of time, I can't say much about this painting that I started at Gateshead Art Society on Friday afternoon. 

What I can say is that due to the quality of the photographs I collaged together to make the subject and the fact that I was working at a forty-five degree angle rather than having the canvas upright on an easel, I've ended up with a perspective that is woefully awry.

I suspect the height of the main structure is as shown on the left of the painting and that I've exaggerated the right hand side. Mr Google has provided me with some additional photographic reference and after I've studied it, I'll start correcting the faults. It shouldn't be difficult, but I've always been my worst critic and so can't help being annoyed with myself.

I'll probably post some of the stages of the corrective work, if you think it might be of interest.

Not yet the Siegfried Line

Washing WIP (acrylic on canvas board)

Back at Gateshead Art Society's Friday meeting, I find myself increasingly frustrated with my acrylics. Having rejigged the composition on this painting, I now find I can't easily cover up the construction lines. I'm guessing that this is simply due to a lack of sufficient pigment in the brands of acrylics I'm using. Perhaps I'll have to bite the bullet and pay for the more expensive Golden brand, but I've recently heard good reports of Jackson's own make. Anyone able to confirm?

I'm happier with this slight change in composition which reduces the problem of the buildings receding in perspective and the umpteen cars parked in the street at ground level. But I'm constantly tempted to resume the picture in oils because I'd have so much more confidence in making it work. That will not happen, however; I'm determined to master this medium.

Sketchbook No.2 (#4)

On the Mole, Funchal, 10 August 1992 (Rotring Art Pen in A4 sketchbook)

It was quite intimidating drawing this huge grab. It towered over me and getting the perspective right was a challenge. Putting the two pages together in Photoshop proved almost beyond me, however, so apologies for the slight disconnect at the top of the drawing.