ARTHUR BISHOP
Well-known member
Love the oil Tim & sketches
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From Tim Wootton's Studio (1 Viewer)
- Thread starter timwootton
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timwootton
Well-known member
Warning - Post Could Contain Nuts (or Monochrome Seascape)
Couldn't resist retracing my steps from the morning mad-dog walk in the hope of re-connecting with the cock snow bnting that has been a fairly regular companion morn and aft. Parked the car fully expecting to see it where it had been just 15 minutes earlier - nothing. Kicked all along the foreshore for 10 more minutes and, sodding typical, it's done a bunk. On return to car, there he is, stripping seeds from a patch of sea-rocket just inches from the rear wheel. He must have been there all along, and I missed him. 20 minutes of pleasant observation and a couple of drawings ensued.
Also worked on the latest charcoal drawing to completion. This is a favourite bit of coastline on Fair Isle - I used it several times recently.
There's a close-up of the gannets to show 'technique' - lifting off the charcoal with a putty rubber.
Couldn't resist retracing my steps from the morning mad-dog walk in the hope of re-connecting with the cock snow bnting that has been a fairly regular companion morn and aft. Parked the car fully expecting to see it where it had been just 15 minutes earlier - nothing. Kicked all along the foreshore for 10 more minutes and, sodding typical, it's done a bunk. On return to car, there he is, stripping seeds from a patch of sea-rocket just inches from the rear wheel. He must have been there all along, and I missed him. 20 minutes of pleasant observation and a couple of drawings ensued.
Also worked on the latest charcoal drawing to completion. This is a favourite bit of coastline on Fair Isle - I used it several times recently.
There's a close-up of the gannets to show 'technique' - lifting off the charcoal with a putty rubber.
Attachments
Dave B Smith
Well-known member
Fantastic job with the Terns!
timwootton
Well-known member
Thanks Dave, I enjoyed the process of reworking the tern piece.
Hi Colleen. Sorry, I remember you asked about the paper - it's household lining paper (for underneath posh wallpaper) and is thick with a nice tooth.
The drawing (or painting, or whatever; some say one paints in charcoal - I use my fingers) is 34" x22".
Hi Colleen. Sorry, I remember you asked about the paper - it's household lining paper (for underneath posh wallpaper) and is thick with a nice tooth.
The drawing (or painting, or whatever; some say one paints in charcoal - I use my fingers) is 34" x22".
nickderry
C'est pas ma faute, je suis anglais.
I can hardly keep up here - the terns have come to a superb conclusion - Colleen's words sum up exactly what is going on for the viewer. The snow bunting has everything a snow bunting should have - cute, round, and dragging itself along the floor. The gannets seascape is very dynamic indeed. I feel like I've wasted a whole week faffing about with a crucified cisticola!
Great drawings! I really love them both. The detail shows amazing observation of these birds! I am amazed by what you can see and give artistic form to, the moment, but just like anyone would hope to see these keen and elusive animals. It is like being there, but not really as a human observer exactly, it gets transcended. Thank you!
colleenc
Well-known member
a few posts ago I commented on how the eye traveled around the paintings of the terns, then today I read a description of a Bateman painting which has a similar empty spot, in that discussion was a link to one of my favorite blogs on art by James Gurney and he has written a 3 parter on eye path in artwork, that may be of interest to artists here.
http://gurneyjourney.blogspot.com/2009_09_01_archive.html
read Sept 18 -20.
Maybe Tim didn't think it all out consciously, but notice that he managed in whatever way he did to meet many things, perhaps this is why he "struggled" with the front tern and why he eventually settled on the solution he chose. Bateman is a fine artist in so many ways, but it is his composition that really lifts every work to the highest level. so here is a link to what I read. post #52
http://www.wetcanvas.com/forums/showthread.php?t=587147&page=4
http://gurneyjourney.blogspot.com/2009_09_01_archive.html
read Sept 18 -20.
Maybe Tim didn't think it all out consciously, but notice that he managed in whatever way he did to meet many things, perhaps this is why he "struggled" with the front tern and why he eventually settled on the solution he chose. Bateman is a fine artist in so many ways, but it is his composition that really lifts every work to the highest level. so here is a link to what I read. post #52
http://www.wetcanvas.com/forums/showthread.php?t=587147&page=4
PWG
Well-known member
Looking at what is said it looks like the old trick of standing in a public place looking up. No matter how much others don't want to, at the very least they will quickly glance up to see what you are looking at. Human nature really to be curious as to what someone or something is looking at and they can't resist to follow their gaze. The trick is to be able to master the expression or gaze in the picture.
Having now read through the article on the blog the main driver seems to be threat, does anything I see pose a threat or are others seeing a threat? After that's been settled then the eye tends to wander around more. Interesting how so little importance is placed on the golden rules that we get drilled in to our head from early on about the way we should be composing drawings and paintings.
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timwootton
Well-known member
Hiya Chrissy - and a huge welcome to the best bit of Birdforum. Looking forward to seeing your work here, too.Sometimes when you join somewhere new, it is lovely to see a few people that you haven't seen for a bit. Lovely to see your birds again Tim, I haven't been on Wet Canvas in a while
timwootton
Well-known member
I've just been called out to pick up a 'young curlew' which had hit a window. Turns out to be a very lovely woodcock - no Mike, not you - which is destined or the drawing board today. As I approached home, I thought I'd take a glance in the allotments opposite my house - splendid! Common Rosefinch female picking around between the horse radish - very nice. Popping out in a mo to try for some drawings - if she's still there.
timwootton
Well-known member
No further sign of Mrs Rosefinch for the rest of the day, so . . .
Started work on the woodcock postmortem drawings tis evening - crikey, there's a lot of 'pattern' in there. Just so beautiful and so sad at this wonderful creature's untimely demise. Grist to the mill, I suppose . . .
Here's as far as I got tonight;
Started work on the woodcock postmortem drawings tis evening - crikey, there's a lot of 'pattern' in there. Just so beautiful and so sad at this wonderful creature's untimely demise. Grist to the mill, I suppose . . .
Here's as far as I got tonight;
Attachments
Woody
Well-known member
Wow.
Is it just the camera distortion or do you do exactly what I always seem to do and make your drawing just slightly larger than the actual bird? It's a completely subconscious thing with me that I seem unable to control!
Whatever-That's a beauty and your study looks to be doing it the justice it deserves.
Mike
Is it just the camera distortion or do you do exactly what I always seem to do and make your drawing just slightly larger than the actual bird? It's a completely subconscious thing with me that I seem unable to control!
Whatever-That's a beauty and your study looks to be doing it the justice it deserves.
Mike
