On a roll with Strathmore papers!
Above
Strathmore 500 papers
The clear and distinct variations between the different colours of the watercolour sheets in the Strathmore 500 series (left to right) as Imperial Not 140lb (300gsm), Gemini Rough 40lb (300gsm) and Aquarius II 80lb (170gsm) as branded watermarks and deckled edges.
Well, actually these papers come in all sorts of different shapes, sizes, textures and finishes and I just love them!
I've recently completed an article for 'The Artist' magazine as the concluding one in a four part series focusing on different mills offering very different papers indeed.
I have to say, I found the Strathmore papers to be amongst some of the most robust and the way the mill creates many of its papers with a beautiful embossed logo in the bottom left hand corner...well, I just do NOT want to have this hidden under a mount!
Cleverly Stathmore have watermarks for the different papers you use which is great. If you have them altogether in storage you only have to pull out a sheet, check the left hand corner if in doubt as to which is which.
Above
Strathmore 500 Series Imperial Not 140lb (300gsm)
A beautifully textured paper for expressive drawing as well as painting. fantastic expressive mark making capabilities for really distinctive work.
Such a good watermark and paper of quality signing my name next too and endorsing is an absolute must. Working with mixed black and white media (as shown here) I deliberately glide the pastel and black media over the watermark so you can see it - who wouldn't! It is perfectly and accurately embossed - a real mark of quality and as such you are compelled to do your best work on the paper (so thank you strathmore).
To discover more about the Strathmore papers I road tested with fantastic results right across the range look out for 'The Artist' magazine in January 2005. If you cannot wait until then you can always order some yourself by visiting https://www.artistpapers.co.uk/
There is something for everyone - you will not be disappointed!
On with the next black and white media paintings on these amazing papers....watch this space!
Back to black and back to the Pennines
Above
Raining stair rods over recent Pennine snows
Black and white mixed media on heavy duty cartridge paper
14.5 x 14.5 inches
Framed in black stained ash bespoke frame behind glass, mounted with deckled edge showing to all 4 sides
Available
In my last post I mentioned how strong, compelling and appealing a black and white image can be. The focus of a black and white painting, drawing or image is realistically in tone and line and combinations of both.
Black and white tone allows you to express in an instant what colour takes a much longer process to visually express. Thus, when working with colour, my work takes on a different meaning or perhaps a different focus - mainly texture, 'colour' itself and light.
For black and white drawing and painting the essence is upon the ambiance - the landscape a a whole. There is no hiding! As they say, 'it's there in black and white,' cut down to the essential ingredients - pure.
Above
First snows of winter in the high Pennines
Black and white mixed media on 'Arches' 140lb (300gsm) Rough 100% rag contet watercolour paper
22 x 16 inches
Framed in black stained ash bespoke frame behind glass, mounted with deckled edge showing to all 4 sides
Available
The same can be said for photography in many instances with many landscapes that persuade the artisan photographer to convert or think in terms of black and white and in so doing often such images say 'more' and make a stronger statement than introducing colour into the frame or composition.
However, colour has it's moments too (for reasons explained) for photography and painting but as a parallel photographers and artists working with black and white have to work harder to evoke the essence of the scene since colour can be so easily distracting and black and white, as stated - pure.
Deep in the Pennines, on the high moors the landscape can appear 'flat' - void of interest in terms of colour. convert to black and white or think as an artist in terms of black and white and this upland world takes on a new meaning!
The harshness of the environment with the abandoned homes and upland farmsteads disappearing into the landscape with the collapsing walls doing the same, broken and strung out along a much forgotten landscape makes you think in terms of line. Twisted and bent trees which struggle for survival in the thin soil agains constant high winds, their rough and ragged shapes against the skyline - thoughts of line again.
Hills that appear and disappear in upland mists over soft tussock grass high amongst the abandoned land - one can only think of tone, simple and pure as different shades of grey.
With thoughts and direction such as these I tread the upland moors with a great northern photographer Richard Littlewood who is a fantastic artisan who uses his camera to paint with the light and extract the pure raw essence from the landscape he knows so well close to his home town of Huddersfield. You only has to look at his portfolio to understand his empathy with his subject.
The landscape in these upland reaches appeals to us both in very similar ways - Richard with his camera and me with my sketchbook and pastels.
We return again mid September. I'm really looking forward to that!
http://www.richard-littlewood.com/
Just drawn to black and white
High winds above Malham Cove.
Mixed black and white media on Strathmore 500 series 100% rag content Imperial Not 140lb (300gsm) watercolour paper.
20 x 24 inches
What a fantastic watermark! This is left displayed in this drawing - floated in the frame. two deckled edges top and bottom are made with this paper and tow machine cut sides lets and right in contrast.
Full sheet size 22 x 30
EVERYTHING starts with drawing!
Solid, 'proper' quality drawing is the backbone found in every successful artists work and is the essence of their expressive, visual and artistic language - the bedrock for everything they do.
Drawing is a 'way in' - a great exercise to help you think your ideas through and put ideas down on paper. OK, you can do the same by directly working with paint and pastels and I do that too, more often than not, working with colour directly on site or colour sketching in the studio as well. here though I 'draw' with the brush - not just paint with it.
The purity of drawing through tone, line and expression of ideas is what attracts me to it every time. A good drawing (throught through idea) sets up a good painting. Choosing different types of drawing media and different papers keeps the exercise very stimulating and as experimental as painting.
Combining different drawing media in the same study is also a great way forward and will give you confidence when thinking about the next stage...the 'big painting!' Keeping your sketch or working drawing by your side you have the perfect reference when you may start to get 'lost' in the field of colour and wonder which way to go. The drawing acts as a rudder and will help you put the wind back in your sails!
Any painting session in the studio will always begin with a thumb through my sketch books and as I sink into my work and get into the zone. Ideas spring from these simple black and white/ sketched ideas and notations of thought through elements and studies on a page.
Drawing for its own sake is what I do also. Drawing is important to me since these finished studies command as much attention as a finished painting through expression and emotive value.
There is nothing that holds as much emotive value you are compelled to express as an area you know and feel and have a connection with as I do for Malhamdale. It is one of the most dramatic locations within the whole of the Yorkshire Dales.
Cliff, rock, twisted weather beaten trees, mist, rain, sun illuminating the white limestone and steep fell sides and scree slopes, shadows plunging the deep gorges and ravins into mysterious caverns.
There's more to come and I'm looking forward to getting out there in the Autumn season and painting even more of the dramatic scenery that Malham has to offer - every time!
Before and after
A little while ago (1 July actually) I was invited by Pateley Bridge Art Club to give an evening demonstration with pastels and chose a dramatic landscape view from the top of Sutton Bank to show just how wonderful and expressive pastels can be to work with when you want to work quickly and in an impressionistic and energetic way.
Choosing to work with 'Clairefontaine' pastelmat as a full sheet of 70 x 50 cm board (colour 'Anthrecite' to give my colours some real punch), the layered pastel in the 2 hour demonstration using many different types of pastels looked like this...
Towards the light - Sutton Bank, North Yorkshire (stage 1)
Having developed the very essence of the scene for Pateley Bridge Art Group the pastel painting was finished later in the studio focusing primarily on the light, cliff shapes, light and dark and contrasting areas to give the painting real drama.
The two figures were added as the last finishing touches and elements to give this landscape real scale, height and aerial perspective.
Towards the light - Sutton Bank, North Yorkshire
Pastel on Clairefontaine pastelmat
Size 13 x 19 inches
This painting will be a signature piece to be shown in a joint show at Sutton bank visitors centre in the 'Inspired Gallery' from 17 April until 4 May 2015 along with many other paintings taking influence from the North Yorkshire Moors national Park.
It is with great delight that I'll be returning to Pateley Bridge Art Group in Glasshouses in Nidderdale (one of our favourite Dales in Yorkshire) to give an exciting full day workshop to on Monday 20 October to all the keen members so everyone can try out for themselves expressive pastel techniques.
We'll be painting a dales river scene and with the River Nidd flowing through this wonderful Dale we will be spoilt for choice for subjects to create some really exciting paintings together.
I cannot wait to get started!
http://www.nidderdale.co.uk/pateleybridgeartclub/index_PAC.htm
In unison with Unison!
Great to see one of my paintings featured on the Unison web site - a top brand of professionally made pastels I just use all the time to create my award winning work. A lovely surprise!
From my own perspective I find Unison pastels really are superb quality and great to use.
Thought has gone into the size to hand ratio when using them and the 'chunky feel' is only bettered by their bigger sticks introduced on the market now with a range of extended colours which is a great news, particularly for artists working on a really large scale.
Unison pastels present a superb range of colours and tints throughout the range and are great value for money - especially their half sick sets and and other sets of full sticks as 18 colours helping you to get started.
I use Unison all the time. I buy other brands as well but I do keep going back to them for their particularly useful colours and handling properties.
Jackson's Art Supplies have once more featured Unison pastels and other interesting pastel hints and tips as part of their recent blog http://www.jacksonsart.com/blog/category/art-technique/pastels-art-technique/ which many of you are sure to find interesting, especially if you are a pastelist or want to give the medium a try.
You can always put your present pastels to good use on one of my next Autumn workshops...only six weeks away until the start of the first one!
Here are the workshops
http://rdcreative.co.uk/art_workshops
See you soon!
The lure of The Lakes!
Expressive landscape themed painting break at Higham Hall.
Monday 27 Oct 2014 9:00am to Fri 31 Oct 2014 11:30am
Who could fail to be impressed by the Lake District?
The county has so much - beautiful majestic mountains and fells, gorgeous reflective lakes, drama, mist, colours and so much much that my humble words just cannot do justice!
However, I hope my art can and my award winning skills are there to be shared with you this Autumn at magnificent Higham Hall at the top of Bassenthwaite Lake in the western Fells of Cumbria this Autumn as I become their 'artist in residence' for 5 days!
5 separate workshops are on offer for you to choose from using a variety of media and each and every day your wonderful painting experience worrking outdoors in the heart of lakeland and in fully equipped studio space at Higham Hall itself.
Each creative painting day with me will be followed by a sumptuous dinner and a stimulating evening of creativity watching me demonstrate lots of exciting and very different art techniques for you.
You may choose to stay close by to Higham Hall and come and learn stimulating art techniques each and every day or pick and choose workshops to suit you own creative needs throughout the week.
To find out more about this very unique and special creative painting break in the heart of the Western Fells visit http://rdcreative.co.uk/art_holidays/expressive_landscape_themed_painting_break_higham_hall_cumbria
or visit www.highamhall.com
Somewhere in the middle
Realistically studio painting and en plein air work can have very different approaches in painting indeed.
The freedom to take your time in the studio, slowly work your way through your paintings can, as seen here, create a very different approach to any painted outdoors.
This might not have been the initial intention (and it certainly wasn't for me on this occasion) but the results speak for themselves. 'Soft light through Staithes' took me 2 days to complete whilst the en plain air painting took half a day to do one sunny day in October.
So, which is more successful - the studio painting or the outdoor one? well, that is a matter of personal choice and one which I give to my galleries and thus my buyers too. both seam to satisfy a particular market.
On a personal quest though the future direction with my work is to combine both the 'look' of the studio painting with that all important vigorous, 'must do it now before it rains' approach created in the field.
Achieving a happy equilibrium somewhere in the middle with both 'styles' will answer my own questioning self analysis about my work concerning pushing any given work that bit too far. Adding too much detail and presenting too much information (less is more remember) 'blows it' for me.
The ambiance and soft light in the 2 day painting is just what I wanted to evoke and yes, it does have a keen sense of place when looking at it which is what I wanted to achieve. The composition 'keeps you there looking at it', holding your attention and exploring - so that is a success too.
So what's next for any other unfinished Staithes paintings left in the studio? Well, to take them back in front of the subject will be a great help and putting a stop clock on in the studio when painting others - another approach.
