Neighbourhood Views

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I find the sights in a neighbourhood more fascinating as I’ve started to notice things like shapes (the triangles of rooftops), patterns (the fences, in layers) and the juxtaposition of human structures with nature’s randomness.  These things are especially apparent after a snowfall, when each board is decorated with a topping of white, each rooftop angle is highlighted, and the entire scene becomes a monochrome.

Perhaps because, here in the Peace Country, we are accustomed to open views stretching 30 kilometers or so and vast enough to be unobstructed by buildings or fences, these close up, intimate perspectives are novel.

Drawing these things is a test of patience, but certainly good practice for getting sizes and composition right.  It is also important to use lots of contrast for complicated, layered subjects.  This sketch represents an enjoyable hour in a warm studio after a chilly photographic tour of the neighbourhood.

 

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Challenging Perspective

Wow, herein lies a challenge!  The sunshine and shadows where these two fences, one quite plain and one more ornate, meet were eye-catching.  However, it wasn’t until the sketch was underway that the true intricacies of the subject became apparent.  Perspective is intriguing by itself, but shadows don’t have to play by the rules!

Is it the angle at which the photo of the sketch was taken that makes the metal fence lean in rather than out?  I’m not sure.  I didn’t notice until I looked at the image on the screen.  Our eyes and brains deceive us!

The After-Class Look

With four drawing classes in one week and piles of students, Judy and Carolyn can amass quite a lot of drawings!  Once the students have gone on Thursday night, this is how the work area looks.  It’s great to see all those art supplies used for creating art and a feeling of having produced something creative.  We usually leave it like this for the weekend, just in case someone wants to come back down to make art!IMG_1070.JPG

Wellington – First Masking

Because I’m using the pouring technique on this painting, I need to use the lengthy detailed masking technique as well.  The first round isn’t too bad: I can still see all the lines and everything is black and white (I mean to say, it is easy to figure out what will be white and what will be covered in paint).

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Wellington – The Sketch

Every detailed painting begins with a detailed sketch.  I’ve never painted a statue before.  Especially not a man in full uniform on a horse with all the reigns and… bits.  Let it not be daunting!

The blue lines are the from the first outline sketch, which I copied to my watercolour paper with blue transfer paper.  Here I’m partway through adding the detail, hoping most of it won’t be lost as I add layers of poured paint.  His hand looks too small.  Where’s his knee?

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