Fingers crossed as I write this....
For months now, my website has been bedevilled by a problem on the Gallery page - images horribly pixellated and unviewable. I couldn't work out what was wrong, and in the end I just left www.isleofwightlandscapes.net to fend for itself, and even thought about taking it offline altogether.
A visit today from my old friend Barry Fitzgerald, a professional photographer working out of Tralee in Ireland, will I hope have resolved the problem - and he worked out why it had happened, so it shouldn't go wrong again (it really WASN'T simple).
It's been a long day, and I'm now off to bed: but tomorrow I shall upload the latest version of the site: this always taxes my memory and eyesight and I regularly get the codes/password wrong. But all things being equal, I am very hopeful that the issue will have been resolved, and I shall be able to start actually using the site again - I had just been staying away in a sort of neurotic sulk....
And all I'll have to do then is publicize it widely so that more people visit it and savour its delights....
Still, a start's a start, eh...?
Friday, 4 March 2016
Tuesday, 1 March 2016
Work in Progress - Keir Hardie
Casting about for something to paint, I thought I'd like to try a portrait sketch; it can only be that because its subject has been dead for just over 100 years now. But I've not painted a portrait of any kind for years, and thought it was time I did.
It's a WIP - Work in Progress - and because I'm using oil paint (on oil painting paper) it won't be finished for a while given the method I've chosen: and I've chosen that so that I can show an old but (I'm hoping) good method of achieving it.
I started out with the most basic possible pencil sketch, strengthened with a"turpsy" (ie, solvent-rich) mix of Burnt Sienna and French Ultramarine oil; then sharpened up the drawing a bit from my source photographs - Hardie changed quite a lot over the years, and looked far older than his 60 years when he died: so we're only going to get a sort of composite painting out of this (I suppose that's going to read a bit like an excuse, but it's basically an iconic look I've after with this, so if it does, it does!).
Having blocked in some of the background and shadows, I employed that old approach I mentioned - rather than going in with full colour, I refined the image a bit more with a mixture of Terre Verte, a very traditional colour historically used for this purpose, and lead white - I still have some Flake White left, which is what I used. It's less oily and much faster drying than Titanium White, and can be applied more thinly. There's a long story to be told about the advantages of lead white, but this isn't maybe the time to tell it.
Now this layer has to dry right out, which will take time: and when it has, I'll apply thin, transparent glazes of colour over the top. You needn't fear you'll obscure the detail - you'd only do that if you used very opaque colour, and Titanium White.
There will probably be some Titanium White eventually, but the aim is to keep it to the minimum - and maybe I'll be better advised to use another lead white instead.
For the moment, the painting looks as if I've turned poor old Keir, as if he hadn't enough to contend with, into the Incredible Hulk, because Terre Verte is a green, with a very low tinting strength: it will cool warmer colours applied on top - and it's one of the ways that the old painters indicated gentle shifts in colour and tone in their portraits. Probably obviously, the finished product won't be as good as a genuine old portrait - because I'm not going to take the time over it that they would have done, and anyway I'm using paper; but my desire is to give others an idea; and of course it's good practice for me; it'll be interesting to see how it pans out.
Building up a portrait in this way - you can do the same with landscapes if you want, but you probably wouldn't use Terre Verte as your base colour; it wouldn't hurt if you did, but it might end up with a rather cool painting; an earth red would be more usual; and you can employ acrylics if you prefer quicker results - gives a very distinctive look; it's not an Impressionist treatment, but now and then maybe it's good to remember that not everything has to be.
It's a WIP - Work in Progress - and because I'm using oil paint (on oil painting paper) it won't be finished for a while given the method I've chosen: and I've chosen that so that I can show an old but (I'm hoping) good method of achieving it.
I started out with the most basic possible pencil sketch, strengthened with a"turpsy" (ie, solvent-rich) mix of Burnt Sienna and French Ultramarine oil; then sharpened up the drawing a bit from my source photographs - Hardie changed quite a lot over the years, and looked far older than his 60 years when he died: so we're only going to get a sort of composite painting out of this (I suppose that's going to read a bit like an excuse, but it's basically an iconic look I've after with this, so if it does, it does!).
Having blocked in some of the background and shadows, I employed that old approach I mentioned - rather than going in with full colour, I refined the image a bit more with a mixture of Terre Verte, a very traditional colour historically used for this purpose, and lead white - I still have some Flake White left, which is what I used. It's less oily and much faster drying than Titanium White, and can be applied more thinly. There's a long story to be told about the advantages of lead white, but this isn't maybe the time to tell it.
Now this layer has to dry right out, which will take time: and when it has, I'll apply thin, transparent glazes of colour over the top. You needn't fear you'll obscure the detail - you'd only do that if you used very opaque colour, and Titanium White.
There will probably be some Titanium White eventually, but the aim is to keep it to the minimum - and maybe I'll be better advised to use another lead white instead.
For the moment, the painting looks as if I've turned poor old Keir, as if he hadn't enough to contend with, into the Incredible Hulk, because Terre Verte is a green, with a very low tinting strength: it will cool warmer colours applied on top - and it's one of the ways that the old painters indicated gentle shifts in colour and tone in their portraits. Probably obviously, the finished product won't be as good as a genuine old portrait - because I'm not going to take the time over it that they would have done, and anyway I'm using paper; but my desire is to give others an idea; and of course it's good practice for me; it'll be interesting to see how it pans out.
Building up a portrait in this way - you can do the same with landscapes if you want, but you probably wouldn't use Terre Verte as your base colour; it wouldn't hurt if you did, but it might end up with a rather cool painting; an earth red would be more usual; and you can employ acrylics if you prefer quicker results - gives a very distinctive look; it's not an Impressionist treatment, but now and then maybe it's good to remember that not everything has to be.
Monday, 15 February 2016
Black Sky
Oil on canvas covered board - many layered painting in oil exploiting tonal contrast - as much as can be achieved without going too far over the top into Abstract work, which on the whole I avoid. Scratching-out, scumbling, glazing, and - well obviously! - a rat.
Thursday, 4 February 2016
Flood Plain - finished
There's also a bit of Yellow Lake, Scarlet Lake, Pthalo Green, Cobalt Blue, Cerulean Blue, plus a little Cremnitz White, and Titanium White. Oil on Ampersand board, 11" by 16", Ampersand boards haven't been available in this country for long - they're high archival quality surfaces, resistant to warping, and suitable for oil and acrylic, or even for watercolour.
I was unconvinced that they'd suit me at first, but having tried just the one, and only with oil paint so far, I'm very keen to try more in oil and acrylic.
If interested in buying this one - £150 will secure it, unframed.
Monday, 1 February 2016
Back in Action - and some sad news
On the plus side, I have at last finished an oil painting - my first in 2016. I can't post a good photograph of it yet, for the simple reason that I haven't got one - given my flat is on the dark side, I can't get a good photo within it without using the flash, which of course distorts colour and causes a shine to appear on the surface which obscures any detail. So, I need to take it outside to photograph it, and if I do that it'll either fly away in the wind or get soaked (as will I).
Even so, I'll post what I have got - and put the better photo up later: given I've painted nothing since before Christmas, I thought I'd better prove that I actually HAVE finished something. It's called Flood Plain, which title is intended to be somewhat ironic....
It's an oil on Ampersand board, a surface I've never tried before and quite a novel experience - the surface is absorbent, though not so much so that it sucks the oil out of the paint; so although it's totally smooth, it still has enough tooth to hold the paint. This is 11" by 16". The panels are a little expensive by comparison with standard canvas board, but they're worth it - it may not be obvious from the reproduction here that they are, but - they are.
The sad news is the death of an internet friend of mine, who gave me a lot of encouragement and advice, and was a marvellous painter - one of the best in my opinion working in Britain in the last 25 years. Ken Bushe, who lived and worked in Broughty Ferry in Dundee, died of cancer on Monday January 25th. Just type his name into Google, and I think you'll be amazed by the quality of his work. Ken loved skies above all else - sky and cloud formations, sunsets, sunrise, rain clouds, snow, fog. He painted wonderful land- and sea-scapes too, but skies gave him a freedom which he exploited on a grand scale. He knew a lot about clouds! He studied them, he sought pictures of clouds from all over the world - but he would paint only from what he saw in front of him: his pictures were usually finished in the studio from colour notes and sketches, but were always based on his own observation of the magnificent skies over the River Tay, especially.
I sent him a few cloud photographs, out of interest - I knew he wouldn't paint from them though. We never met face to face - he didn't often come South, I believe, and I hardly ever venture North. But we talked a lot about paint, its qualities, availability, what could be done with it, the brands. He was active in the successful campaign to keep Cadmium paints in production when they were under threat, and was scathing about those who felt artists' paints posed anything like the threat to the environment that industrial use might. He won that fight, but lost the battle against this awful disease - please consider a donation to Cancer Research in his memory; and make sure you look at his wonderful work.
Even so, I'll post what I have got - and put the better photo up later: given I've painted nothing since before Christmas, I thought I'd better prove that I actually HAVE finished something. It's called Flood Plain, which title is intended to be somewhat ironic....
The sad news is the death of an internet friend of mine, who gave me a lot of encouragement and advice, and was a marvellous painter - one of the best in my opinion working in Britain in the last 25 years. Ken Bushe, who lived and worked in Broughty Ferry in Dundee, died of cancer on Monday January 25th. Just type his name into Google, and I think you'll be amazed by the quality of his work. Ken loved skies above all else - sky and cloud formations, sunsets, sunrise, rain clouds, snow, fog. He painted wonderful land- and sea-scapes too, but skies gave him a freedom which he exploited on a grand scale. He knew a lot about clouds! He studied them, he sought pictures of clouds from all over the world - but he would paint only from what he saw in front of him: his pictures were usually finished in the studio from colour notes and sketches, but were always based on his own observation of the magnificent skies over the River Tay, especially.
I sent him a few cloud photographs, out of interest - I knew he wouldn't paint from them though. We never met face to face - he didn't often come South, I believe, and I hardly ever venture North. But we talked a lot about paint, its qualities, availability, what could be done with it, the brands. He was active in the successful campaign to keep Cadmium paints in production when they were under threat, and was scathing about those who felt artists' paints posed anything like the threat to the environment that industrial use might. He won that fight, but lost the battle against this awful disease - please consider a donation to Cancer Research in his memory; and make sure you look at his wonderful work.
Tuesday, 5 January 2016
I tell a lie....
I do, I do...... I did paint over Christmas: just one, for the annual Christmas card. Acrylic on watercolour paper, of Charlie the dog showing how very, very excited she was by the whole festive experience.
She did perk up a bit though when given a bit of gravy from the landlord's pheasant over her canine kibble........ otherwise, she does Totally Indifferent really well.
She did perk up a bit though when given a bit of gravy from the landlord's pheasant over her canine kibble........ otherwise, she does Totally Indifferent really well.
Still alive....
A leisurely Christmas period - cooked, read, drank, watched films, but painted nothing and drew only a little. The conventional wisdom states that one should paint every day - but I find that a rest from art work now and then is important; to reflect on what you're doing, or not doing; and to gain a different perspective. I'm not fond of just churning work out - it's also said that waiting for inspiration is the mark of the amateur. Perhaps it is. On the other hand, I don't live by painting - I'd starve if I did. So, if I don't actually wait for inspiration, I do wait for a subject that engages my interest.
At 65, I should care whether I'm regarded as an amateur or not..... (as in: I don't).
So my creative impulses over Christmas and New Year went into cooking pheasant, brisket of beef, and a rather splendid steak and mushroom pie.
But now what? The new year has dawned - damply - and I need to work out what exactly I'm going to do. Certainly, I look forward to participating in the work of the National Association of Painters in Acrylic. I'll continue, for as long as he wants me, to contribute to Mr Pratim Das's online Coloured Canvas magazine. I will try to re-cast my e-book Oil Paint Basics, available only on the Amazon Kindle Store at present, into a form which I hope will be publishable in paperback. I will continue to hope than an article I sent to Leisure Painter magazine months ago will actually get published, as the editor assured me it would -- getting a little tired of seeing the same old faces and the same old stuff in magazines, to be quite frank....
I shall probably continue with such of an interest as I currently take in the Labour Party - more in hope than anything else. But I'm abandoning Twitter, not that I was ever a frequent tweeter - because it's such a cess-pit. Sharing things there is one thing; don't mind doing that. But the number of politicians who have dropped themselves right in it up to the neck and slightly beyond is incredible - incredible that they should be so stupid as to think they can say anything worthwhile in a sentence or two, or anything that won't get them into trouble because they're bound to be misunderstood. Facebook too is going to take a back seat - the social media might better be described as the anti-social media so far as I'm concerned. (There was a last straw with Facebook, but in characteristic kindness on my part, I shan't reveal what it was since that would also reveal who was at the centre of it.)
I will try to wean myself away from the Guardian's Comment is Free pages, on which I appear all too often, as Wightpaint: it's not worth the effort: the Guardian needs a complete clear-out of its political staff (and its arts staff, but then its coverage there has always been abysmal). And there are one or two medical issues to attend to............ as you'd expect.
Which only really leaves painting, unless I'm to loll around all day doing nothing. Hmmm. It's a thought.....
Politics is best left to the young. They'll make a mess of it, that's the trouble.................... and they think you can do politics via Facebook. Bless 'em.
Ah well. Happy New Year.....
At 65, I should care whether I'm regarded as an amateur or not..... (as in: I don't).
So my creative impulses over Christmas and New Year went into cooking pheasant, brisket of beef, and a rather splendid steak and mushroom pie.
But now what? The new year has dawned - damply - and I need to work out what exactly I'm going to do. Certainly, I look forward to participating in the work of the National Association of Painters in Acrylic. I'll continue, for as long as he wants me, to contribute to Mr Pratim Das's online Coloured Canvas magazine. I will try to re-cast my e-book Oil Paint Basics, available only on the Amazon Kindle Store at present, into a form which I hope will be publishable in paperback. I will continue to hope than an article I sent to Leisure Painter magazine months ago will actually get published, as the editor assured me it would -- getting a little tired of seeing the same old faces and the same old stuff in magazines, to be quite frank....
I shall probably continue with such of an interest as I currently take in the Labour Party - more in hope than anything else. But I'm abandoning Twitter, not that I was ever a frequent tweeter - because it's such a cess-pit. Sharing things there is one thing; don't mind doing that. But the number of politicians who have dropped themselves right in it up to the neck and slightly beyond is incredible - incredible that they should be so stupid as to think they can say anything worthwhile in a sentence or two, or anything that won't get them into trouble because they're bound to be misunderstood. Facebook too is going to take a back seat - the social media might better be described as the anti-social media so far as I'm concerned. (There was a last straw with Facebook, but in characteristic kindness on my part, I shan't reveal what it was since that would also reveal who was at the centre of it.)
I will try to wean myself away from the Guardian's Comment is Free pages, on which I appear all too often, as Wightpaint: it's not worth the effort: the Guardian needs a complete clear-out of its political staff (and its arts staff, but then its coverage there has always been abysmal). And there are one or two medical issues to attend to............ as you'd expect.
Which only really leaves painting, unless I'm to loll around all day doing nothing. Hmmm. It's a thought.....
Politics is best left to the young. They'll make a mess of it, that's the trouble.................... and they think you can do politics via Facebook. Bless 'em.
Ah well. Happy New Year.....
Sunday, 6 December 2015
My friend and colleague
Since I last posted, Kenn Pearson, for whom I acted as election agent in the 1987 General Election, has passed away at the age of 75, having been in serious ill-health for some years.
I noticed today that Mr Abdul Mateen, of Cowes on the Isle of Wight, who stood against Kenn in his Council ward, has paid tribute to him in the County Press, the island's local newspaper. I wonder how many former candidates would do that - but then, Kenn could unite friend and opponent: he didn't make enemies; he was too nice a man.
I found a drawing I made of Kenn which must date to round about the time he stood as Labour candidate for the island - I don't remember why I did it; perhaps it was intended for a leaflet, though we went for photographs in the end. Perhaps the reason why will be obvious but, for better or worse, here it is.
I noticed today that Mr Abdul Mateen, of Cowes on the Isle of Wight, who stood against Kenn in his Council ward, has paid tribute to him in the County Press, the island's local newspaper. I wonder how many former candidates would do that - but then, Kenn could unite friend and opponent: he didn't make enemies; he was too nice a man.
I found a drawing I made of Kenn which must date to round about the time he stood as Labour candidate for the island - I don't remember why I did it; perhaps it was intended for a leaflet, though we went for photographs in the end. Perhaps the reason why will be obvious but, for better or worse, here it is.
Wednesday, 18 November 2015
Tuesday, 10 November 2015
Monday, 2 November 2015
Robert Phillip Jones, NAPA!
I'm very pleased to announce that on October 29th 2015, I received confirmation that I have been accepted as a full member of the National Acrylic Painters' Association (NAPA).
In his advice, the Director said:
"The selection committee thought your work was well controlled whilst being direct and expressive. It also shows a good use of natural colour and composition.
"Your work is interesting in terms of both technique and content and we think it would make a positive addition to the work displayed on our website and in our annual exhibitions."
I should shortly be seen in all my glory - well, some of it - therefore on www.napauk.com.
And don't forget my website - still under construction and renovation - at www.isleofwightlandscapes.net. Ignore the chaotic gallery page for the time being, there are three other pages for you to savour, including - and how CAN you resist? - my Buy page, which has a selection of current work still available.
In his advice, the Director said:
"The selection committee thought your work was well controlled whilst being direct and expressive. It also shows a good use of natural colour and composition.
"Your work is interesting in terms of both technique and content and we think it would make a positive addition to the work displayed on our website and in our annual exhibitions."
I should shortly be seen in all my glory - well, some of it - therefore on www.napauk.com.
And don't forget my website - still under construction and renovation - at www.isleofwightlandscapes.net. Ignore the chaotic gallery page for the time being, there are three other pages for you to savour, including - and how CAN you resist? - my Buy page, which has a selection of current work still available.
Wednesday, 14 October 2015
The Green, Niton Undercliff,: Sea Defences
This is a quarter imperial watercolour - rock armour protects this part of the coast, but was never installed further along: perhaps that's one reason why the Niton to Ventnor road, Undercliff Drive, collapsed, and why it'll take more than patching it up or diverting it to ensure its future stability.
The spirit of the thing is accurate, but I don't go for images that could be photographic - there's the camera, if you want those, after all.
The spirit of the thing is accurate, but I don't go for images that could be photographic - there's the camera, if you want those, after all.
Saturday, 3 October 2015
Goodbye, Denis
Denis Healey - that was a life well-lived, and you'll be missed: politician, photographer, painter, soldier, and brave man.
A unique combination of intelligence, wit, and sheer guts. Rest in peace, Denis - you were just about the last of the great figures of the last century, and an inspiration in this one.
A unique combination of intelligence, wit, and sheer guts. Rest in peace, Denis - you were just about the last of the great figures of the last century, and an inspiration in this one.
Saturday, 26 September 2015
Candlestick Tree, Niton Undercliff
This is an 8" by 10" oil, just a sketch of the huge candlestick tree - I think it's a Sycamore - it could hardly be anything else - that has grown into three great boughs of roughly equal girth until they branch out about half way up.
I've had four paintings so far from this one walk down the road, 3 oils and 1 acrylic.
I've had four paintings so far from this one walk down the road, 3 oils and 1 acrylic.
Friday, 25 September 2015
Inside Elephant Hole Cave
A quick study from memory, because drawing inside the cave was impossible (not least because I forgot to take a pencil with me....) and so was taking a photograph. Having got in, the worry was whether I was going to be able to get out again. The point from which I would have been standing in this one is where a tunnel leads through the cliff to another opening which is almost impossible to see from the outside. I got through that, but the path was so treacherous that unfortunately I had to turn back the way I came.
Well, I can say I've done it now, anyway: I'm in no hurry to do it again. I just hope that road works which are likely to be undertaken in the area don't destroy this part of the cliff and its environs forever.
Subscribe to:
Posts (Atom)
