Welcome! Hope you see some artwork that pleases you, if not now, maybe next time…

expressionism

Espelette chillies in charcoal and sanguine.

Without planning it, these experiments have turned into a series. As it is raining constantly outside, I have to dine my subjects inside. I started off with clementines(see post here) and today I grabbed the bunch of dried Espelette chillies hanging next to the stove.

…Espelette chillies in charcoal and sanguine, 50x 65cm…

piment d'espelettes 2358x3075-001

I started off in light vine charcoal, rubbed over slightly  with my hand to erase most of the lines and then went in with the sanguine. piment d'espelettes 2917x3641

The completed drawing. Using white conté stick, I added the last highlights/ details.

piment d'espelettes 3097x4400

…Close- up 1…

piment d'espelettes 3219x3313

…close-up 2…piment d'espelettes 4164x2955


Radishes in charcoal and watercolor

Continuing my experimentation with large formats, different mediums and free strokes. Still sticking with charcoal, which is an unforgiving medium, but exactly that fact gives me the freedom to “play” freely. You can”t start over every time you make a mistake; so you  are forced  to work with the mistakes, which can either lead to great discoveries, or total mess ups  – not to be seen as a bad thing. I also prefer working with the dark charcoal, and one can see in the images below the really dark black it gives. I don’t use fixatives.. I have the impression it doesn’t work in any case..

…radishes in charcoal, watercolor and watercolor pencils, 42x60cm..

Radishes in watercolor and charcoal 3251x3976

I chose radishes, cut off most of the leaves  to expose mostly the stems, thew them out on the table and chose a composition with only a few radishes.

..the start – in charcoal lines and watercolor washes, using lot of water and allowing it to run…

Radishes in watercolor and charcoal 3232x4683

After finishing, I stood back and the watercolor looked too washed out against the dark charcoal, so I added watercolor pencil, washed it to blend and give darker color, and here and there I left some pencil marks to echo the charcoal lines.

…radishes – close up 1..

Radishes in watercolor and charcoal 4928x3264-001

Far from being a perfect piece and it won’t end up in an exhibition, this was another good exercise in getting rid of “fear”.

….radishes – close up 2…

Radishes in watercolor and charcoal 4928x3264

…radishes – close up 3…

Radishes in watercolor and charcoal 3264x4928

Onto some some more work!!!

à bientôt

Ronelle


Clementines in charcoal.

Thankfully there is always an end to yesterday. And to whining. Once I got tired of my own whining about this not working and that not good enough(see the previous post), I had the clarity to see that the only way to change what I don’t like in my art, is to work at it.

..Clementines in charcoal on paper, 43X60cm..

Clementines in charcoal 3116x4317

So here is what I went for:

  1. I worked only charcoal and white conté sticks.
  2. Large format. I will go bigger still, bit for the time being 43x60cm is plenty.
  3. I put the drawing on my easel and work with the whole arm and not the wrist, standing back often to get distance.
  4. No details.
  5. Large and free strokes.
  6. No erasing.
  7. No planning ahead, trusting impulse.
  8. Still worked from life..whatever is around, but no photos.
  9. No direct copying, put marks and lines as I felt and wanted, whether it is correct or not.
  10. Stopped early enough, while I still had the urge to continue.

 I enjoyed this process todayeven though it still has my typical mark making, I feel happy about it. Will continue experimenting.

The paper is bending on the easel as I didn’t add a big enough support behind it, so the colour and focus are not perfect all over the paper.

Clementines in charcoal 2672x3629

Some close ups  below to see the marks and smudges.

Close up 1

Clementines in charcoal 4928x3264

Some of the close-ups actuall make for nice pieces on their own..so the piece of work can be torn or cut into sections and reworked..maybe collaged as part of another work…?

Close up 2

Clementines in charcoal 3264x4928-002

Close up 3

Clementines in charcoal 3264x4928-001

Close up 4

Clementines in charcoal 3264x4928

Stay tuned for loads of work in the next few weeks..and if you feel like joining in..please do so.

à bientôt

Ronelle


Oil painting – white corner

My first plein air painting in two years..and I chose a rainy and snowy day to do it! Not the best composition ever and with very finicky brushwork (but with a nice stroke here and there!), I succeed in finishing it. And most importantly, I enjoyed it so, so much!!!

So, after all sorts of difficulties, I think this is what they call “breaking the ice”, so now I should start settling back into the process…and the joy plein air painting  gives me.

..White corner..

Oil on gessoed board, 41x33cm

le coin blanc-huile


Two..or maybe three eggs in watercolor.

Eggs. Easy to draw. Difficult to paint. but satisfying, because one can play around a lot with painting eggs..or the suggestion of eggs. Sometimes it works.  Sometimes not.

..three eggs 1..

in watercolour and pen on Fabriano watercolour block, HP, 23×30,5cm

..three eggs 2..

in watercolour and pen onArches watercolour block,CP, 18x26cm

..three eggs 3..

in watercolour and pen on Fabriano watercolour block, HP, 23×30,5cm


Horse sketches

Our post card exchange has now come to an end, sadly, but maybe we have something new in the pipeline.

I sent Desiree horse sketches ..she and her family had horses at an earlier stage. Our two Comtois horses were my models  and the sketch on the envelope I did from one of those sketches.

Gubi(envelope)

gouache and pen on envelope

Gaitchi and Gubi

done with pitt artist pens in sketchbook


Some lunch sketches.

I had some lunch at a small restaurant close by and sketched my lunch of a vegetable soup, coffee and the surrounding salt and pepper set.

…vegetable soup and bread

pencil, pen and watercolor in Daler rowney sketchbook

The coffee sketch was my first and when I tell you that I had a very upsetting experience just before I arrived at the restaurant, you’ll understand why the lines are so dark and the whole sketch is sombre and almost violent. I’m always amazed by the strong influence emotion has on art.

The salt and pepper set was the last sketch and you can see that my emotion has settled a bit by that time. It did my a world of good to do these drawings…therapeutic.

…vegetable soup…

pencil, pen and watercolor in Daler rowney sketchbook

…coffee and water with cpeculoos biscuit…

pencil, pen and watercolor in Daler rowney sketchbook


Joyeuses fêtes!

Have a wonderful season!!

à la prochaine!

Ronelle


Abstract efforts in inks.

I’m not a natural in doing abstracts, but I can appreciate abstract art work. And I mean real good abstract art, not bad art which hides under the cover of “abstract art”. What I’ve done here didn’t exactly end up  being  totally abstract, but I enjoyed the line work and the ink marks. In fact, it is probably still only more of my exercises in line and mark making, and not real abstract efforts..

…the blues…

..J Herbin inks with feather quill on Arches aquarelle paper rough,18x26cm..

…the Reds…

…Sennelier inks with feather quill on Arches aquarelle paper rough,18x26cm..

…The Blacks…

…Black Winsor et Newton Indian inks with feather quill on Arches aquarelle paper rough,18x26cm..


Still life with quince.

I have moved on from autumn colours to  still lifes, done in the atelier. Working in thin washes, laying wet washes over dry ones. not my usual way of working, but I am quite chuffed and will do a series of these watercolors.

I need to bring in a bit darker values and I want to have more informal compositions. I think my inspiration comes here from Cézanne, whose watercolours I love. There is currently an exhibit of Cézanne in the Musee de Luxembourg in Paris until 26 February 2012, for those who want to jump in their private jets for a visit…and a lunch afterwards, maybe at the Mini palais restaurant?

…Still life with quince…

watercolor and pencil on Fabriano artistico CP, 30,5×45,5cm

I’m posting a close up to show the layering of thin washes.

…close up…

Until the next post where I’ll be back with another still life…hopefully a better one with darker values, more expressive compositions…and one where my patience has reigned!


Colors and foliage in November 4

In the woods I picked up 2 different ivy’s, some pine branches, mushrooms and cushions of yellow green moss. for the greens, my palette c0nsisted of pure olive green, prussian blue, cerulean, cadmium yellow and ochre. I added touches of burnt sienna and raw umber.

In the first sketch I did yesterday, I found the colour too uniform and without depth, too  uninspiring.

…greens..

pen and watercolor on Canson Montval watercolor paper CP, 29,7x42cm

…then I went back in this morning and darkened some values – in the mushrooms, the pine branches and I used a thicker .7 pen. I think it has now a bit more  more…oomph?


Colors and foliage of November 3.

I found some beautiful grays…some more bluish, others more yellowish and greenish and some just simply…gray.

…grays..

watercolor and J Herbin inks on Hahnemuhle paper CP 15,5x25cm

Doing the above sketch  was very quick and dare I say easy, without sounding obnoxious? I’ll tell and you can decide…

  1. With a goose quill and nib and “gris nuage” ink from J Herbin, I drew the outline of the twig/branch with contour lines.
  2. I added a wet was over the areas that I wanted to highlight as the greyish moss, in the process flooding some the water soluble ink lines.
  3. I dabbed in some light dabs of indigo, prussian blue, paynes gray, ochre and raw umber on the wet areas. To finish off the background, I dropped some paint , using the same colours,  from a loaded brush to loosely suggest random patches of moss.
  4. Lastly I finished off with some dark paynes gray(little water, lots of pigment, to give very dark values, suggesting the small dark corners between the moss.

..J Herbin inks and goose quill…


Colors and foliage of November 2

More experimenting with fall colors…which are quickly changing to grays and blacks and umbers. some of these experiments and playing with line and color simply turn out a mess…as can clearly be seen in “ochres and siennas”, but somehow I actually like this mess, since it is much more loose and spontaneous than the others, which are strict and too precise and stiff. the goal of this experimenting is, after all, not to render, but to interpret. In that sense, “ochres and siennas” are my best effort so far, the one I’m the happiest with.

..ochres and siennas..

watercolor and pen in sketchbook, 15,5x25cm

I used the messy sketch above to do a painting 0n larger scale and extra white abriano artistico  paper. I shgould’ve gone for a more yellow tinted paper. Much lighter hand, lighter in color and more diverse in nuances…but still not what I’m after. A lot more work to do. But for this Sunday, it will do. I’m going for  a walk in the woods now to find some grays.

..ochre fall branch..

watercolor on extra white Fabriano artistico paper HP,41,5x30cm

..crimsons..

watercolor and pen in sketchbook, 15,5x25cm


Free expression on large format.

Busy with my people’s project, I just wanted  to do something different. Something completely free and unrestrained. Taking large formats of paper and canvas, I put down the brushes and used only my hands and rolled towel paper. even though it feels a bit like first grade finger painting, there is a liberating feeling that results from “playful” and experimenting occasions like these.

1.Tilleul tree in gouache on paper.  For the first tree, I shaped the thick trunk with a large brush and for the leaves, added gouache pigment with my fingers, sometimes very wet so the color runs and sometimes I dotted only dry splotches. Not a very significant result, but it did loosen me up, like all these free, expressive exercises always do. this one really looks like a first grader “picture”!

1…tilleul tree in gouache on paper, 65x50cm…

1…detail…

2. Prune tree in oil on canvas. For the second tree, I used a large canvas, primed it with a layer of thin gesso,  “shaped” the tree trunks and branches with modelling paste and painting knifes, and finished off with a last coat of thinned gesso. After leaving it to dry overnight, I built up the tree trunk with layers of  oil pigment, using a rag to wipe and build up up the layers. The leaves were all added with crumpled toweling paper and lastly spatters of oil pigment with a large brush.

2…prune tree in oil on linen, 92x73cm…

2…detail…

3. Apple tree in charcoal: Again on large format and loose application of pressed charcoal, I only made marks and got in there with the fingers to suggest the folage loosely.

3…apple tree in charcoal on paper, 65x50cml…

3…detail…

To do excercises like this:

  • Use large sheets of paper or canvas or cartons. Off cuts from boxes can work as well
  • Wear old clothes.
  • Work where you have enough room/space…even outside on the lawn, or go to the park.
  • Choose something around you like large shrubs, trees, flowerbeds.
  • Use only big tools…big brushes, pieces of rag, knifes, twigs, and of course, hands(You can treat them afterwards with some good creams!)
  • Work on the WHOLE paper, even if you run off the page.
  • Stand back, up often and look at your creation from a distance. Don’t consider right or wrong or any painting rules.
  • Consider only marks, color, texture, shapes.
  • When finished with one, put it aside and immediately start another…with another bush another scene.. don’t go back to a previous painting, rather start another one.
  • Don’t think, just do.



More oil and gouache studies

I have been working a bit more in gouache and oil in the fields…doing the few hay balls still lying around in the fields here and there. The following pieces are only exercises done on site in plein air. I’m working hard at just interpreting, not rendering  the reality, but only the essentials.

…close-up 1

Close-up two was done using only fench ultramarine, white an a touch of black. I’m quite happy with this one…

…close-up 2…

I am finding that I enjoy gouache more and more. I like the touch of it on the paper’s surface and it is creamy enough for me and I can work thick with it or thin in washes. I also particularly like its “flat” two dimensional appearance, which looks very “painterly” to me.

…Bales of hay in gouache…

These two  gouaches were done on a large sheet of light grey laminated paper/carton paper (65x50cm..25.6×19.7″)

I did a small oil as well.. I have to regain my confidence in oil as I lost it completely during an experience a few weeks ago. I’m hesitant, I don’t really know what to do and where to go to on the canvas. But maybe it is a good thing too…maybe something new can be born from this. I hope so.

…bales of hay in oil…

oil on linen, 33×24.5cm (13×9.7″)


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