I have started to think about how I use the sketches I make, integrating those ideas. Here are starts. Above, I have drawn on canvas drawn in mixed greys and impure whites with water-miscible oils. The next step is to imagine colours onto this. Below, I drew in charcoal direct onto a lino block, aiming to sketch directly into a print (it’s a flawed idea as I will rub off the charcoal guide in cutting).

My weekly playlist, selected for my by spotify, included this track

which took me back to this moment in history, perhaps lost in more recent events

I am an atheist, but grace is something in which we all share.

18 responses to “

  1. Your painting is great. Those strong marks against the chalky colours works so well. I am loving the concept of impure whites! Would spraying some fixative on the charcoal help with the problem of rubbing off the block? Would one of those “square” carpenters pencils be a useful substitute for the charcoal as an alternative. (I think this qualifies as art enabling.😉).

    Have a great holiday break and commiserations if you are in lockdown.

    • Thanks. I did some experiments and charcoal marked the Lino best. I could fix it but I have to wash it off anyway to print from it. Fixing might spoil, or enhance, the surface. I might paint the area to be cut in white acrylic paint, then wash off the charcoal before cutting and printing.
      We’re in lockdown, no big Christmas gathering, and I’m working anyway Xmas day. It’s ok though. I don’t do socialising much anyway.

  2. Amazing to have had a president with such grace, with real human feelings, who could consider the lives and deaths of others who were not himself. These days we cannot even mourn properly.

    I especially interested to see how the linocut works. I hope you can get the detail of the drawing. (K)

      • I’m not sure I understand you when you say you are thinking of applying colours without clear reference to the under painting… I would keep the underpainting, the original, as it is. It would be a pity to lose it under glazed colours. It works really well. Make a copy perhaps. I’d avoid glazes (which are usually, historically, that is, as transparent as poss., and require the use of oily media). They’re tricky to apply and they’ll darken the grisaille and then you’ll have to scumble over them to bring the underpainting back! I don’t think, I can’t think of, anybody, any modern painter, who uses glazes, certainly, not in the way they were used by, say, Titian or Rembrandt. Sorry I can’t be of any more help.

      • That’s a huge help. Thanks. I think I am just trying to avoid the sense of drawing an outline and colouring it in. But I’ve not used this medium before.

  3. I see. I’m simplifying things but there are basically two ways of painting. One using line, where line is all, and paint or colour is secondary. The Italian painters of the Renaissance used line. The French Neoclassical painters followed in their footsteps. E.g., Ingres; David. More recently Picasso did some great line drawings. Now we call it ‘paint by numbers’ (and some fools scoff at it) but it is a very old method. The other way is the so-called ‘painterly’ where paint and colour is / are more important than line. This technique demands that the artist get stuck in. Delacroix springs to mind. I don’t know if any artists have ever succeeded in balancing the two. But one can at least explore both. Art now… well there are the photorealists then there are the expressionists. I’d say the former were more concerned with line, the latter with paint. You see it even in abstract work! It’s a huge subject.

      • Aw stop, OA, you’ll make me blush ! Lol ! I should know something by now I mean I have been in the art game for the past 70-odd years on and off ! Still learning too !

    • HI Peter. Like OA says, you have encapsulated a great knowledge in a short paragraph. Thanks. So partly, my art history is patchy and scant so I dont have this resource to draw on. The idea of glazes is a simple as the package insert with the paints (W&N Artisan water miscible oils) says you can dilute with water and use as a glaze among other approaches, and I was thinking how to build my layers without losing the drawing. But I can imagine this approach would end up with muddy lustreless colour, unlike a similar careful technique using watercolour. It’s perhaps a lazy or unconfident idea on my part. Interestingly after more than a week, parts of this have yet to dry and perhaps that is because I overused water as a medium. They are not designed for water use in painting I realise (though you can) – just to wash the brushes. I have not used linseed oil or a dedicated water miscible oil medium to thin the paint in this first layer. I may not even have any linseed oil – I will check.
      I shy away from just “colouring in” or “painting by numbers” but there is a logic to this in this painting. Still I think I am going to get in there with colours and opaque strokes over this underdrawing – the “painterly” approach. I got a few more colours and brushes as a 16th wedding anniversary present last Friday (in return I gave a link to a vast archive of online flute sheet music). If I have no thinner, opaque may be the way to go anyway until I can get some!
      Best wishes for Xmas
      Neil

  4. Hello KA. My ‘like’ didn’t appear to ‘take’ last time I visited. Glad I came back, to look at the paintings again and read the comments. I’m with Peter, Leonie etc on this. Don’t lose the painting you have. The painting over a lino cut or making a copy will let you explore further as you want. I feel you are making a positive step, ising your sketches. Good luck!

    • Thanks OA
      I am quite comfortable about losing this painting even if the next layer is a mess. Its not like anyone cares or sees my art except as photos here. Its one reason for the blog in fact, to help me be brave and destroy work. Some of the decent sketches would perhaps work as lino cuts.

      • Sorry did that sound self pitying? It’s not what I meant. You’re right you do care as do I about yours. We’re working remotely through blogs so photos are what we see. In taking risks with the original I’m not sacrificing a thing of value because you have seen and commented on the photos. But thanks for caring. It means a lot.

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