#MakeASplash #Watercolour5 Again for this I employed my Wilko gel pens. This time I drew out some imaginary bits and bobs in blue ink. Afterwards I took my masking fluid pen and added in more details or retraced my drawing. I wanted to have the contrast between using blue ink lines and the white of the paper Once the masking fluid was dry I painted over the image very roughly with a large brush.
Drawings of Lord Leighton’s “Archway on the Palatine”, Corot, “Italian Woman”, Jean-Baptiste-Camille Corot, “The Four Times of Day: Morning, Noon, Evening, Night”.
Although badly worn and in part dubiously restored, this painting still has impact. Tintoretto was a very fast painter, favouring a dark ground. Sadly, many of his paintings are badly deteriorated. The picture above is much clearer than the painting itself. I enjoyed drawing from this because the composition is very complex. As you scan it more figures seem to appear out of the ether.
I started thinking about turning the Dice and Adicia ink on paper studies into papercuts. This was my first attempt at making a figure in black paper on coloured paper. There is a certain charm to the crude cutting here. It convinced me that more work is needed to get a series of them off the ground and that perhaps the printing direction is going to have more longevity to it. So, with that in mind I’ve begun cutting out the collograph plates for the series, which I will get up once they’re done.
When you find a new painting in the National Gallery it’s a good idea to sketch it fast! I was very excited to see that this El Greco version has been lent by a private collection and is hung next to the gallery’s own version of “The Agony in the Garden”. El Greco is a complicated painter, taking Tintoretto’s school of composition and running with it. Always an exciting artist to copy. If you’re near the National Gallery this week run in and see this painting before it returns to its collection.
Drawing out of the bus window some of the objects passing by. I used this study in my sketchbook as the basis for the aquatint “Urban Forest”. Prints of this can be ordered here.
Drawn from the range of blue thistles begging to come out in the garden in late spring last year. Using a limited colour palette of paint pens that did not include blue meant I had to think a little bit harder about the shape of the thistle.