It was a lot of fun coming up with a contemporary take on old fashioned icon images. I used black pen with a range of nib sizes mixed with coloured pencils.
I’m delighted that I made the shortlist for the Jackson’s Open Art Prize 2016. The other artists have some really fantastic work in, so it’s a real honour to be included alongside them. Jackson’s Open Art Prize Shortlist Announced
Andrew Marr Chuck Close (b. 1940 -) Filippo Orsoni Jan van Huysum (1687 – 1747) http://www.vam.ac.uk/content/articles/t/the-design-book-of-filippo-orsoni/
Stephen Wiltshire (b. 1974 -) Maria Iliou Neil Dixon Carl Andre (b. 1935) JE Millais (1829 -1896)
Working to the brief of creating a logo for wedding stationary, the challenge was to represent a tractor and a rose. Here are the drafts, searching for ideas. It happene d that the client and I both preferred the vintage tractor and rose design. I made a few tweaks to the drawing. Then, a nice tidy up in Photoshop and the logo was ready to go! It was used on the invitations and wedding stationary as well as for the champagne glass favours. A very enjoyable project, I was delighted to receive a wedding favour at the end.
Paolo Uccello (1397 – 1475) Sheila Findlay (b. 1928 -)
Really happy that my tree series has got some recognition after the slogging on it. So pleased that St. Dorethea’s tree has made it to the longlist. https://www.jacksonsart.com/blog/2016/04/15/joap-longlist-announced/ I’m on page 12 of the blog!
Saint Michael squashing the devil (disguised as a snake). Digital coloured drawing mixed with coloured pencil drawing, based on ink line drawing.
Marc Chagall (1887 -1985) John Ruskin (1819 – 1900) Charlotte Salomon (1917 – 1943)
Artemisia Gentileschi (1593 – 1656) Tracy Emin (1963 -) Dorethea Tanning (1910 -2012) Chen Peiqui (1922 – ) Jenny Saville (1970)
My weather girls designs.
Edgar Degas (1834 – 1917) Pierre-Auguste Renoir (1841 – 1919) Michelangelo Caravaggio (1571 – 1610) Atul Vohara
I started this frog prince mosaic today, firstly doodling out some ideas on a piece of copier paper. Then I traced them out onto the heart and started to cut the tiles to size. It’s really fun working with mosaic as a change from collaged papers. Looking forward to finishing this one!
Euan Uglow (1932 -2000) Marianne North (1830 -1890)
Paul Cezanne (1839 – 1906) David Stubbs (1976 -) Ori Gersht (1967 – ) Rebecca Scott
From 16 January until 11 March 2016 I am exhibiting as part of a SGFA group show in the Southwark Cathedral Refectory, “Drawing on Location”. The cathedral is an extraordinary place dating back 1106 It has transitioned through changes in worship, the reformation and the bombing a of World War II. There are some wonderful oddities to be found in the cathedral. I decided to focus on the patterns and imagery. I’ve chosen six main motifs and based the palette on the green, red and gold of the cathedral ceiling and the st George and the dragon relief.
Some photos from the Love Wimbledon weekend, part of theMerton Arts Trail.
I love it when people share the final framing of a picture. Here is the watercolour (painted as a demo) ready to go up in someone’s house! And here are some of the photos from the demo:
It’s a long process using hole punched paper to create a stain glass window! This large scale collage, based on collected sketches, is a great way for me to explore collage on a larger scale. Initially the collage was to be a painting, but the first few bits of paper crept into the canvas no it developed from there. Getting my three wonderful models in the same place has been part of the challenge. Further exacerbated by them now being based in three different countries. The charm of the collage medium is that it allows a reinterpretation of the light….
Once again the National Gallery provides inspiration and a great drawing ground. I used HB mechanical pencil and watercolour crayons for this A3 sketch.
Following on from the progress post about Saint Dorethea’s Orchard I’ve finally got this drawing finished! It’s 100 x 100 cm on grey (acrylic) primed paper, drawn with ink and paint markers in black, grey and white. I took this to be photographed a few days ago and am really pleased with the high resolution image as it shows a lot more of the details than my phone pictures.
I worked from a low viewpoint to create this life portrait of Kit. Sitting on the floor and painting can be quite tricky but also fun. I enjoyed working from the same eye level as the model and used a limited palette of lemon yellow, titanium white, burnt umber, alizarin crimson, cadmium red and ultramarine blue.
Working on the robin flying from the corner of the apple tree today, a good chance to focus on feathers. Time to get some more 0.2 mins!
This portrait shows the artists two daughters and their black cat. It’s an unfinished painting but I love it. The two girls epitomise the relationship between sisters beautifully. When copying from an unfinished painting it makes it easier to see what the most important elements are. In a way, a lot of the hard work of analysis has been done for you. I used colours pencils and think the scratchy quality works well for unfinished paintings. For more information: http://www.nationalgallery.org.uk/paintings/thomas-gainsborough-the-painters-daughters-with-a-cat
I created a collograph of an Iris using a very, very small plate and magenta pink ink. Unfortunately, as sometimes happens with collographs, the print was disappointing. I liked the colours and shapes though so used a marker pen to draw over it. In Psychology the concept of Perceptual Set Theory was explored by Deregowski (1972). It showed the cultural bias in the perception of perspective by using two elephant drawings, one showing a split view and the other a top perspective. Only one child preferred the top view and for the reason that the elephant in the split image was…
In spite of sitting in so many art history lectures (or perhaps because of spending so much of them sketching the other students), I had no clue about Correggio before I was encouraged to look at this piece in the National Gallery, London. It’s a tiny painting. It also has an impressively complex baby Christ. The relationship between Mother and child in this painting is depicted with tenderness. For more information http://www.nationalgallery.org.uk/paintings/correggio-the-madonna-of-the-basket
Opening on Monday the 5th of October and running until the 17th the Annual Open Exhibition of the SGFA shows drawing in all its forms. I will be showing three pieces, “Golden Boy”, “The Red Tree” and “Autumn Leaves“.
The third in my series of Saintly Trees. This is based on the saint of orchards and gardeners, Dorethea. The story is reproduced here: http://www.catholic.org/saints/saint.php?saint_id=221 There are also some fantastic paintings which helped me with he apples, Lucas Cranach the Elder’s Venus & Cupid is a great example (and free to visit!) http://www.nationalgallery.org.uk/paintings/lucas-cranach-the-elder-cupid-complaining-to-venus The drawing is 100x100cm. Initially I primed the paper with grey acrylic as my main challenge withy he last two was getting a sense of depth and tone. Obliterating the white was liberating. Here’s the journey so far: I will publish more photos as the drawing progresses.