Hiya folks! Finally able to make this piece available after its final varnish. The final finish has a sort of satin matt look which I feel suits the piece best.
There are so many more light combinations to be explored with this angle, so I might even do more on this subject.
If you'd like to know more on this piece and how it was created click on the link below..
Thanks for dropping by!.. :)
Hiya guys! After my unavoidable hiatus with rather infrequent drawing practice sessions, I've been taking the opportunity to get back into my daily drawing habit, trying to regain fluidy and skills I feel had gone rather rusty after last year.
Still working on it but meanwhile here is one of my latest figural drawings!
(p.s. Included in Artfinder's 'Best of February' Collection!!)
Guess What! Artfinder is currently having a FREE SHIPPING promo this weekend, so if you're thinking of adding this or any artpiece to your collection, now's the time!!
Thanks for dropping by! :)
Hiya folks!,.. It's been a while hasn't it!. I'm coming out of a difficult year after caring for my dad through his last few months and long slow deterioration. There are no words to describe how it feels to see a loved one go thus... We miss him everyday now even though he had long been a shadow of himself.
Anyways, art has always pulled me through difficult times and I was working on this little print during his final days. I did one set with goldleaf for some artist friends (12 editions) and this set (below in only 8 editions) with silverleaf. I hadn't done any printmaking since my college days so I kept it simple.
This is the first time I've tried gilding a handpulled print and it's a bit tricky to do so, as each piece is supposed to be as identical as possible ( this is a mark of a good printmaker). To get the gilding pattern of each print as close as possible I used a stencil to apply the gilding paste and then continued with the gilding process as usual.
I wanted the silverleaf to be protected though, so a layer of Artist Varnish was applied just to the leaf alone.
These prints have only just been made available on Artfinder so if you're interested in adding one to your collection pop on by - 'Zen Dog' Silverleaf V/E Print .
Do drop me a message if you have any questions!
Thanks for dropping by!!
It was great fun painting this alla prima oil of a subject matter so close to my heart, my mother and little cat (at the time) Crookshanks.
I wanted to really capture the early morning light as it shone brightly, illuminating the dark interior of my mother's bedroom. So, unlike the rest of the piece, the window area was left bare of any toned underpainting. The rest was painted with a limited palette over a toned ground of paynes grey, yellow ocher and raw umber.
Much of this toned ground is left uncovered in the final piece intentionally and background elements have been left with a rough unfinished look.
Vine charcoal was the perfect medium in helping to create this soft toned atmospheric piece.
Using a Sepia Light Conte Pencil, the figure was drawn, making sure the 'quality of line' was good as this drawing would be seen in the completed piece. The acrylic primed rough watercolour paper was a great surface to work on. Once I was satisfied with the drawing, the shadows were given a wash of Chinese Black Ink ( there is just a unique luminous quality to chinese ink and I love using it whenever possible ).
To help get my bearings I now went in with the lightest light I planned for the piece.
A splash of white acrylic (with a touch of raw umber) carved out the structure of the man's head and shoulder. Though I had a rough idea where I wanted the white to go, I was always aware of how the composition was developing as I was applying it and adjusting accordingly. For example, I had planned to paint down over the man's left shoulder more, but then the drip happened and looked so good I had to leave it. Acrylic dries fast so decisions had to be made quickly.
With the lights and darks established I went in with a little more detailing for the figure with white chalk, charcoal and the sepia light pencil. I had to be careful not to do too much or risk losing the mood of the piece..
I have this lovely archival tan paper I've been itching to use and thought a 'trois crayons' (technique using three colours - sanguine, white and black) would look gorgeous on it...
The shadow patterns on the model were intricately interesting and I loved that she also had a tattoo on the side of her rib cage that spelt out Honour, Strength and Loyalty..
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