Kilkenny landscape art – Charcoal and Pastels on Paper – Winter trees
This is my second large scale drawing this week, worked on an A2 sheet of cartridge paper with the drawing itself being formatted to fit inside an A3 mounting card and frame.
I am really enjoying working with charcoal and pastels again, I feel that I could and most likely would be able to get more detail into each drawing if I used a set of pencils, high details for each landscape view however is not that much of a worry for me at the moment. The drawings I am working on at the moment are aimed at being Proprietary Artwork for later paintings.
I am learning all the time now about the possibilities of working with what is the very basic mediums of black charcoal and Pastel, the skills of blending and smoothing the charcoal on the paper, back into areas of grey. Drawing with both these mediums is very interesting, detail is possible but needs care to produce, each stage of the drawing needs fixing on the paper so that it is not smudged.
As with any drawing or painting when finished there are areas I like and areas I do not, here I loved working of the misty sky and the trees but found the foreground of the wet muddy field a challenge. I am happy overall and feel I have managed to work in lots of texture and levels of details hidden in the mud in the foreground and very happy with the blended sky.
I am not in all honesty yet looking for finished work as I want to keep learning as much as possible so the more I learn the better and the more that makes me have to look and think about a finished work the better. I am not finishing anything that I would not show to anyone so that is at least very pleasing.
This is the same drawing cropped down, I wonder if its better without the foreground area or better with it ?
If anyone wants to make a comment here – it would only help me 🙂 🙂
Kilkenny landscape – A Charcoal and Pastels on Paper
This week I plan to continued building up my painting and drawing skills, I will continue selected from my landscape photographs and selecting ones that I wfeel will make good Mono drawings and paintings.
This evening I have just finished the above Charcoal and Pastel landscape, its drawn on A2 paper but framed for A3 dimensions. This is a good size from drawing as I feel I can work freely with this size, letting the charcoal move openly. It lets me stand up above by drawing board and move the Charcoal and Pastels with fully movement of my arms.
Just like with my last post I plan next to work the same landscape view in Acrylic paints working with cool grey tones to capture the feeling of a cold grey day, just like the day that I captured the original black and white image on.
Kilkenny winters Landscape project Jan 2019
This is the complete set of images including the original photograph, then the Charcoal and Pencil drawing and Acrylic painting on canvas, from the set of county Kilkenny landscape in winter photos captured last week and that I have spent most of this week working on.
This is only the first set of images and I have a lot more work to do yet to produce final drawings and painting of both this single photo and then the full set of other images I want to use. I am happy with the results so far as this is the first none digital art work that I have worked on for a while.
The main thing at the moment is that I am enjoying the process very much, its taken a while to get my art desk setup again and to get all the materials in place but now this is done I can just get working and start having some fun getting creative.
This drawing uses Charcoal and Graphite pencils on paper to produce what I hope is a moody image of a winters morning over the local Kilkenny landscape.
This Painting was produced using greys mixed from Acrylic (Cerulean blue, Crimson, Yellow Ocha and titanuim white)to produces grades of Greys, some cool and some warmer.
I hope that this helps to set a feeling of winter in my local Kilkenny landscape, on what was a very cold and frosty morning in mid January 2019.
Art Courses 2019 – The art of colour mixing , Rod Moore
I have been into art and painting most of my life and you never stop needing to learn new areas or keep going back to basic and practice old ones, so at the start of this year I registered on a Udemy course run by Rod Moore (Rod Moore, Complete Colour mixing course for artists).
I started the course last week in the evenings and so far its very good, I like very much the structure of the courses run by Udemy as they are perfect for adult study allowing you to use your spare time to gain new skills.
Here are some of the basic colour mixing techniques I have covered so far…..
Creating a colour mixing wheel.
Here the colours provided in my watercolour palette are laid out on the very outside of the wheel, working inwards I have mixed the primary colours of Blue, Red and then Yellow to show the results of mixing primary colours.
Mixing Blue, Reds, Yellow and Greens.
Most sets of paints contain more than one type of Blue, Red, Yellow and green paints, so in the above images I have worked on taking all the paints in these groups one by one and mixing them with the other paints outside the selected group. The first image for example is using two versions of green, the second two versions of blue – then mixing these with all the other remaining colours.
This type of colour mixing produces some very interesting results and helps show just how different the results of mixing different Blues, Reds, Yellows and Greens with other colours can be.
Landscape colour mixing – wheel and chart.
As said above different available paints can fall into the basic descriptions of blues or yellows and reds, but are individually very different from each other, in the images above I have painted a colour wheel that uses more earth versions of these primary colours.
These versions of the Primary colours (Blue,Red and Yellow) when mixed help to produce results much more likely to be used in Landscape Painting, you can see that they results in a much more earthy looking colour wheel than one produced by more standard primary colours.
I have also produced a colour chart on the right hand side of this page that shows the same mixing results but in block of colour, the standard mixing chart is in the centre of the page and as you can see this produces a much more vivid set of resulting colours, ones much less suitable for landscape painting.
One thing I have noticed while working through these exercises is that watercolour paint does not mix very well compared to Acrylic or Oil paints, which both produce much better stronger results. Its harder to get watercolour to produce many different levels of the mixed colour and for these results to have much depth to them , so my next stage is to repeat all these exercises using artists acrylic paints.
So all in all I feel great about working with this course and had a very enjoyable time over the weekend, I am not intending to turn my blog into just Art and Painting so for now I will return to some photography but its be great fun sharing something different 🙂
A weekend in colour
This week I started an online course in colour mixing for watercolour and acrylic painting, so during this weekend I plan to spend as much time as possible learning colour theory.
I worked on the course in the evenings and have already used up a few pages of a new sketchbook, including the pages I have posted here.
I feel that one of the most important things I have learned so far, regardless of the type of paint used (Watercolour or Acrylic) is that I am getting to know them very well, how to mix the basic colours included in a sets of paints and what the results look like. Not all colours act the same even when used without mixing them, some colours produce very smooth results others produce a very grainy texture, some colours don’t seem to go into the paper or canvas very deeply others act more like a dye and the moment they touch a painting surface they stain and fix themselves in very quickly and most likely permanently.
The use of colours
When I first stated painting some years back, I would spend a large amount of time trying to match every single colour in a landscape I was painting, however I feel that since these days I have learnt that doing this is not only exhausting it also does not always produce a good painting. Colours can be used much more effectively when limited and balanced so that they are used to compliment each other. When colour is used to highlight areas in a painting or to soften other areas they can make some parts of a painting stand out and others while still included, fall into the background of the finished work.
It’s all these areas and more that I want to study and regain complete understanding again of both in practice and theory, I can then move onto producing colour sketches and full paintings again.
In order to produces all the colours you want to include in a painting you actually only need three , The primary colours (RED,YELLOW and BLUE), what does counts here however is the type of red, yellow or blue you start with in the first place as this will allow you to produces very different final results.
So this weekend I plan to uses as much paper as possible and produce a colour notebook that I can use during the year to help me when producing any paintings I start working on.
If I get time I will post on my progress but if not, I will on Monday post some results and my thoughts on what I worked on.
Since I returned to Ireland from a holiday in Germany during November, I have found myself turning to my drawing and painting much more again. This is only natural I feel during the winter months , so far this November and December we have had nearly 200mm of rain here in county Kilkenny, (amazing when you think that this is more than double the about for the entire summer) so its been hard to carry and use a camera as much as in a normal winter.
To help me get inspired and make a start I always find myself looking at my most admired classic painters like John Constable.
To me Constable is one of the most misinterpreted classic artist, mainly due to the fact that today his art work has become Synonymous of twee landscapes used on box’s of chocolates and for jigsaw puzzles. Yet when he was starting his carrier as a painter very few people would take on landscape painting and expect to make a living of any kind. Most of the artists of his day would paint classical works reflecting upon mythical stores or portrait works as commissions for the super-wealthy of his day.
The idea that an artist as good as John Constable was, would spend his time painting open landscapes, farms or rivers made little sense to any of his tutors or his peers, many disowned him for doing so. It is this fact that pulls me so much toward his work, he was one of the first of his kind and cutting edge!, sketching and then painting from life, mostly outside in the surroundings he was painting.
The simple truth is that he was and still is very cutting edge when it come to his abilities to capture people in the landscape, if it were not for the fact he did so and produced so much work, little memory would remain of the places and people he captured.
The Stour 27 September 1810
The Stour is one of the first of his painting I ever looked at and I still love this painting very much today, I love the loose use of the oil paint and brush work, the limited palette of colours but above all the atmosphere he has captured.
Its also painted in the format I love the most, at 23×23 a Square format. Its not easy to compose an image in a square! but I feel that the results can produces a great painting or photo with great concentration on the subjects you want to capture the most.
Painted Between 1808 and 1816 – the year of his marriage to Maria Bicknell – Constable spent most of his summers at East Bergholt, sketching in the fields and the surrounding countryside. From 1810 he began to paint images of the River Stour, and the activities associated with it, particularly in the area near his father’s mill at Flatford. Indeed, the bulk of his subjects during the first half of his career are images of Suffolk. Many of these are rapidly executed, evocative sketches, painted entirely, or substantially in the open air – often depicting transient atmospheric effects.
Constable painted this view outdoors in the vicinity of Flatford Lock at sunset. He cut his canvas to fit into the paint box he carried, and pinned it to the opened lid while painting.
The landscape around the Stour Valley and Dedham Vale had been admired by poets and artists before Constable (Tate 1991, pp. 53–54), but he made the area particularly his own by painting it over and over again. Constable wrote in later years: ‘I associate my “careless boyhood” to all that lies on the banks of the Stour. They made me a painter (& I am gratefull)‘ (Beckett VI, p. 78).
Ralph Waldo Emerson, 1803 – 1882
And I behold once more
My old familiar haunts; here the blue river,
The same blue wonder that my infant eye
Admired, sage doubting whence the traveller came,—
Whence brought his sunny bubbles ere he washed
The fragrant flag-roots in my father’s fields,
And where thereafter in the world he went.
Look, here he is, unaltered, save that now
He hath broke his banks and flooded all the vales
With his redundant waves.
Here is the rock where, yet a simple child,
I caught with bended pin my earliest fish,
Much triumphing, —and these the fields
Over whose flowers I chased the butterfly,
A blooming hunter of a fairy fine.
And hark! where overhead the ancient crows
Hold their sour conversation in the sky:—
These are the same, but I am not the same,
But wiser than I was, and wise enough
Not to regret the changes, tho’ they cost
Me many a sigh. Oh, call not Nature dumb;
These trees and stones are audible to me,
These idle flowers, that tremble in the wind,
I understand their faery syllables,
And all their sad significance. The wind,
That rustles down the well-known forest road—
It hath a sound more eloquent than speech.
The stream, the trees, the grass, the sighing wind,
All of them utter sounds of ’monishment
And grave parental love.
They are not of our race, they seem to say,
And yet have knowledge of our moral race,
And somewhat of majestic sympathy,
Something of pity for the puny clay,
That holds and boasts the immeasurable mind.
I feel as I were welcome to these trees
After long months of weary wandering,
Acknowledged by their hospitable boughs;
They know me as their son, for side by side,
They were coeval with my ancestors,
Adorned with them my country’s primitive times,
And soon may give my dust their funeral shade.
I have spent many years now living in the Irish countryside , so I just loved being in Berlin! the train system is just amazing, you never have to wait more than ten minutes before the next train arrives 🙂 , you can get a weekly ticket and train hop all day.
The Berlin Stadtbahn was the most fun as it sits above the city streets and offers amazing views ….
History and details
The Berlin Stadtbahn (“city railway”) is a major railway thoroughfare in the German capital Berlin, which runs through Berlin from east to west. It connects the eastern district of Friedrichshain with Charlottenburg in the west via 11 intermediate stations including Hauptbahnhof. The Berlin Stadtbahn is often also defined as the slightly longer route between Ostkreuz and Westkreuz, although this is not technically correct.
Yesterday I posted some images relating to the fantastic Jewish memorial in Berlin, I did not want to add any words to these images because I just wanted to and hoped that these images would share a feeling that I had walking and standing among the stones of this amazing public sculpture.
Today’s post is a little different, while In Berlin I came across the story of Sophie scholl and the body of Students of which she was a big part, called the “white rose“, Sophies’ story needs words, is all about words!. Words they, and she,this group used, words full of truth! yet by the simple act of using these words so many of these students including Sophie lost there lives!
If you want to try and understand what life was like under the Nazi dictatorship of the 1930’s and 1940’s, in Germany then you would be hard pushed to find any better example than the life story of Sophie scholl and the white rose movement, This was a group of German students who like many felt extremely disturbed and deeply saddened by the events they found happening around them and they simply wanted to express this feeling.
For the act of using their minds and voices to express what was a natural reaction, they lost their own lives. Sophie Scholl is one of the most famous of these student she was executed on 22 February 1943 (aged 21). She is just one individual among millions who lost their lives during the horrors, but I feel her story adds pure clarity to the events that she could not and would not tolerate unfolding around her!
How many of us today would be so brave?
“Who among us has any conception of the dimensions of shame that will befall us and our children when one day the veil has fallen from our eyes and the most horrible crimes – crimes that infinity outdistance every human measure – reach the light of day”
It is an absolute tragedy and as Sophie herself said inhuman CRIME that someone who could and should have spent a lifetime adding to the world around herself, contributing to man kind! was killed by men who only held bitterness and discrimination of all kinds in their hearts.
I feel that by knowing more about human people like Sophie scholl, I understand the history of the Nazi’s much better, these men and women who formed their ranks embodied the very heart and soul of evil and bitterness, heartless discrimination of all kinds and not just racist discrimination but ones based of what they felt was a social right to be better than other humans based on nothing!
There is no-one better than anyone else, there is no position based on wealth, location of birth or physical standing that puts anyone higher in life than anyone else !! PERIOD!
I would like to declare myself a member of the “white rose” ! as I know if I lived Back then at 21 I would have wanted to join!
Sophie Scholl – an ANGLE in the darkness !!
One of the most moving things about a visit to Berlin is just how many public locations have been dedicated to the unavoidable history of Germany. Memorials to the victims of the first and second world wars along with the cold war are located all around the city and they are free to visit and open to all.
Germany is not hiding from its past or running away from it, they welcome both inquiry and then knowledge!
It is a true credit to newer generations that they have made sure that so many victims of what was only a selective group of German people, are remembered into the future in this way.
The Memorial to the Sinti and Roma Victims is located just across the road from the Reichstag building, the German government buildings. It is peaceful place erected in 2012. When you enter the garden you are greeted by musical tones playing from the trees around you, this experience allows you time to stop and remember so many souls that were removed from life , rejected as people not wanted, not perfect and killed for just being from a different social background,location or belief.
The establishment of a permanent memorial to Sinti and Roma victims of the Nazi regime was a long-standing demand of the Central Council of German Sinti and Roma and the German Sinti Alliance. In 1992 the Federal Government agreed to build a monument but the memorial faced years of delay and disputes over its design and location.
The city of Berlin initially wanted to place it in the less prominent district of Marzahn, where hundreds of Roma and Sinti were held in terrible conditions from 1936. In 2001 it was agreed to site it in the Tiergarten close to other Holocaust memorials but work did not officially commence until 19 December 2008, the commemoration day for victims of the Porajmos. The memorial was completed at a cost of 2.8 million euros and unveiled by Angela Merkel on 24 October 2012.