Theres a wonderful delicacy about that willow warbler in stark contrast to the colourful vegetation Tim....beautiful stuff...:t:
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Wootton Art 2012 (2 Viewers)
- Thread starter timwootton
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solitaryVSong
Well-known member
Seems like another new palette. The scene reminds me so much of my experiences here with Eastern Phoebes. The first ones are always in stems with no leaves, often overcast late winter/early spring days, but such a true sign that winter is finally gone.
timwootton
Well-known member
oivind egeland
Well-known member
Again, a masterful piece of work - and such a peaceful and familiar scene. The seaweed is beautifully done, and the ducks have perfect shapes and expressions. Always a joy to see your paintings.
solitaryVSong
Well-known member
Nothing to add to this Tim. But I am curious as to how it came about. Did you see it in field, compose it in your head, then actually paint it when you got home? All the more impressive if that's what happened!
timwootton
Well-known member
I'm trying to allow my drawing to have more emphasis in my colourwork (as in the Sharpie pics), but I want it to sit more naturally with colour than maybe the strong black line of ink does (?). With this in mind I spent a day playing last week and quite liked the way brown conte pastel combined with watercolour - sometimes it smudges into the watercolour and others I keep the colour a distance away from the line and allow the line to stand alone.
Following the play session, I started this large piece of a cock lapwing in kingcups (32"x20") and, convinced there may be mileage in this approach, worked on a similarly constructed piece - Ringer plover (same size). A wee bit more to do here I think . . .
Following the play session, I started this large piece of a cock lapwing in kingcups (32"x20") and, convinced there may be mileage in this approach, worked on a similarly constructed piece - Ringer plover (same size). A wee bit more to do here I think . . .
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Strandman
Well-known member
that Lapwing looks very truly successful- the thing about the sharpies (just from my way of looking) is that the line in them is as strong on the lit side and shaded side of the bird, which makes them less fiendishly subtle than this beauty
solitaryVSong
Well-known member
The Eternal Conundrum: Line vs. Color, Line vs. Color, Line vs. Color. Well that was my immediate reaction anyway
And who first came to mind as the best at combining the two? Edgar Degas. Perhaps not much help, especially as I think you once told Colleen you weren't that fond of pastels. But still he strikes me as someone who mastered it, though mainly because he used a medium that lends itself so easily to line.
To me the Sharpies, and I had to think of you when I saw a commercial for WB Mason on TV for them last night, have a wonderful sense of immediacy and dynamism. But the dark black lines do sometimes compete a bit with the color. Still to me it seems like a winning combination as is.
These look fine as well though I don't really notice the line as much.
timwootton
Well-known member
. . . it's that whole 'edges' thing, isn't it!!!! I love loose, 'edgeless' oils (such as Bill Wray or James Hart Dyke do) and have tried to roughen up in my heavy media painting, but the closest I come is with some of the wetter watercolours which squeeze under the goalie. But line . . . it's where it all starts, well for me anyway, yet while we're seeing the lines, the colours flood the place.The Eternal Conundrum: Line vs. Color, Line vs. Color, Line vs. Color. Well that was my immediate reaction anyway
And who first came to mind as the best at combining the two? Edgar Degas. Perhaps not much help, especially as I think you once told Colleen you weren't that fond of pastels. But still he strikes me as someone who mastered it, though mainly because he used a medium that lends itself so easily to line.
To me the Sharpies, and I had to think of you when I saw a commercial for WB Mason on TV for them last night, have a wonderful sense of immediacy and dynamism. But the dark black lines do sometimes compete a bit with the color. Still to me it seems like a winning combination as is.
These look fine as well though I don't really notice the line as much.
Dead right, Ed - that strong 'against the light' line causes me much angst, but the thing with the Sharpie stuff is that I draw the whole thing out and then add the colour. I think this is where the lapwing and r-p differ in that I'm drawing line and adding colour simultaneously. It means the areas worked are more adhesive, but the overall composition is perhaps a tad more fluid? . . .
mattybohan
Well-known member
there are definitely some great things happening in those paintings. You seem to have the looseness of the watercolor and the interesting line work defining things in a perfect balance.
timwootton
Well-known member
solitaryVSong
Well-known member
Looks good Tim, and full of promise. It's always good to see you trying something new.
Thinking about line in painting reminded me of the 19th century American artist Winslow Homer. I've studied his watercolors quite a bit though don't know much about his oils. In any case the thing that is striking is that he made is living originally as a line engraver. And all his early work is all about line. But as he got older he kept sneaking the color 'under the goalie.' For his last 10-20 years you had the sense that line was there but hardly ever really noticed it. It just seemed like a hidden structure for the color. My take on it at least!
Thinking about line in painting reminded me of the 19th century American artist Winslow Homer. I've studied his watercolors quite a bit though don't know much about his oils. In any case the thing that is striking is that he made is living originally as a line engraver. And all his early work is all about line. But as he got older he kept sneaking the color 'under the goalie.' For his last 10-20 years you had the sense that line was there but hardly ever really noticed it. It just seemed like a hidden structure for the color. My take on it at least!
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