Occasionally I have a go at DailyPaintWorks' weekly challenge, and this week the theme is water. My subject isn't overly full of colour, but the refraction of light creates an interesting double image of the spoon. The oil was painted on a canvas-board that had been previously textured with some gesso, for another project that didn't happen. You can find the painting at DPW here: https://www.dailypaintworks.com/fineart/christine-derrick/spoon-bender/614832
(not for sale)
I'm using some new pastel techniques, to try and improve the way I start a picture and get colours laid down as a foundation to build on. For some years I've started with a standard pastel-paper or card, in the usual manufactured colours; but now I'm playing around with re-coating and re-colouring old failed works. The picture above was made on a sheet of pastel card that had once borne a fairly dull and ordinary green landscape. I scrubbed off a lot of the pastel with a 3-inch decorator's brush, then washed turps over it to fix the resultant green-grey colour. Once it was dry I brushed a coat of clear Winsor & Newton acrylic gesso over it.
The landscape was marked in with a square-ended hard conte stick. After this, areas were filled in loosely with lots of hatched lines, using other coloured conte sticks and the edges of medium-hard Rembrandt pastels. From here I set about developing the trees and grasses, with more lines and hatches. The willow-trees in my locality exhibit many tangled branches and twigs, so line-work was very appropriate for them. This was autumn/winter, so the trees were bare but often display reddish-browns and mauves on their branches, when seen in weak sunlight.
The steep green bank was the hardest object to create. These moorland rhynes ("reens") are often in deep cuttings, edged with reeds, trees and sloping fences. This bank had been shorn of all its reeds and was sporting a haphazard collection of dry grass, mud and green tufts...none of it particularly thrilling to paint, so I decided to just keep it simple.
Softer pastels were not brought in until the second session of work. I deliberately avoided them until I was happy with all the line-work and hatching. Softer colours were used for the yellow grasses, the distant tree clump, and to add rusty-reds to twig-tips. The sky was kept simple and a light-source created to hint at a hidden sun. Finally, two swans added at the river-bend, using the edge of a hard grey-white Rembrandt pastel.