Bank Holiday crawl
Still in holiday mode right now, although to be honest I could happily break off from the current chores and get back to some more pastels. I am thinking a lot about directions to follow, for the remainder of the year. The website contains quite a mix of work, with a number of pieces directly available via Original-Art-Under100. This gallery sells a fair spread of styles and I'm happy to paint similarly. I've given some thought to the bigger, more abstracty pieces and feel that they would be better separated off entirely to OAU100, away from the more traditional and smaller pastel works. I shall keep the abstracts page with a few examples to facilitate the links.
Smaller landscapes have not been numerous this year, but I retain a fondness for scenes with clouds, in either oils or pastels. Still life work has gone well, and the experiments with a cross-hatched pastel/pencil approach have attracted a number of views, on Pinterest notably. This has been encouraging and I'll be carrying on with that.
I've increased my pencil collection in past months, adding a full set of Conte a Paris pencils alongside the Swan-Stabilo bunch. These both provide images that are a little less brilliant in terms of pigment, but allow for interesting linear marks, easier to achieve than with soft pastel sticks. The square Conte Carre are also good for lines and I have a number of those too.
Finally....a set of pencils that have lain unused for over two years; a tin of Faber-Castell Polychromos. It is a long time since I have done any coloured-pencil work; I can't recall the last piece I did, but there was one from around 2006 (or so) that I was pleased with. It is this one, worked on a small sheet of Bristol Ivory board:
"Centaurea": coloured pencil with dry watercolour-pencil.
I have never gotten into botanical illustration. Although I have the aptitude and concentration to follow it up, I really don't get excited about painstakingly measuring every petal, leaf or stamen....I'd rather see a degree of freedom in the work, than tie it down to millimetre precision. Coloured pencil offers a sense of watercolour-like translucency; it is possible to work up many details but still create a feeling of lightness (in the right hands, of course). I also like to see many of the lines that make up the image....I'm not a great fan of burnishing techniques but I can understand why many go for this.
So....will I be getting them out of their tin? I'm considering it. Finally; the little dandelions featured in "Casual Gold" were bright and cheery enough to sell the painting last week, during exhibition, and it is now in a new home. With no special new work ongoing right now, I'll probably not be posting again for another week.