Tuesday, September 2, 2014

There and Back again, Pages 214 to 218

From: There and Back again, An Illustration Project of The Hobbit

Page 214
 Page 214: "Above him the sleeping dragon lay, a dire menace even in his sleep."

Ink and acrylic gouache on 6 x 8 inch paper.

Page 215
Page 215: "There was a breath of strange air in his cave."

Ink on 6 x 8 inch paper.

Page 216
Page 216: "The horrible sounds of Smaug's anger were echoing in the stony hollows above..."

Ink on 6 x 8 inch paper.

Page 217
Page 217: "A red light touched the points of standing rocks."

Ink on 6 x 8 inch paper.

Page 218
Page 218: "Slow and silent he crept back to his lair and half closed his eyes."

Ink on 6 x 8 inch paper.

Sunday, August 31, 2014

There and Back again, Pages 209 to 213

From: There and Back again, An Illustration Project of The Hobbit

Page 209

Page 209: "Then suddenly when their hope was lowest a red ray of the sun escaped like a finger through a rent in the cloud."

Ink on 6 x 8 inch paper.

Page 210
Page 210: "For a long time the dwarves stood in the dark before the door and debated..."

Ink on 6 x 8 inch paper.

Page 211

Page 211: "The stars were coming out behind him in a pale sky barred with black when the hobbit crept through the enchanted door and stole into the mountain."

Ink on 6 x 8 inch paper.

Page 212
Page 212: "He was trembling with fear, but his little face was set and grim.  Already he was a very different hobbit from the one that had run without a pocket-handkerchief from Bag-End long ago."

Ink on 6 x 8 inch paper.

Page 213
Page 213: "It is almost dark so that its vastness can only be dimly guessed, but rising from the near side of the rocky floor there is a great glow.  The glow of Smaug!"

Ink and acrylic gouache on 6 x 8 inch paper.

Only 90 more to go...

Friday, August 29, 2014

New Little Portraits

Two new little portraits I have just added to my shop:

"Blazing" is an oil on 4 x 4 inch wood panel.

"Francesca" is an acrylic on 4 x inch wood panel.

A few more little portraits to come soon...

Wednesday, August 27, 2014

There and Back again, Pages 204 to 208

Finally, another Hobbit post:

From: There and Back again, An Illustration Project of The Hobbit

Page 204
Page 204: "None of them had much spirit left."

Ink and colored pencil on 6 x 8 inch paper.

Page 205
Page 205: "They beat on it, they thrust and pushed at it, they implored it to move, they spoke fragments of broken spells of opening, and nothing stirred."

Acrylic gouache and ink on 6 x 8 inch paper.

Page 206
Page 206: "Out up there a silence reigned, broken by no bird or sound except that of the wind in the crannies of stone."

Acrylic gouache, ink, and colored pencil on 6 x 8 inch paper.

page 207
Page 207: "A large grey stone lay in the centre of the grass and he stared moodily at it or watched the great snails."

Ink on 6 x 8 inch paper.

Page 208

Page 208: "There on the grey stone in the grass was an enormous thrush, nearly coal black, its pale yellow breast freckled with dark spots."

Ink on 6 x 8 inch paper.

Friday, August 15, 2014

Project Space

My summer certainly seems to be going quickly and, as previous summer have gone, I am not finding as much time to work as I'd like.   At least I have learned to live with it, mostly.  I hope your summer is going well!

Next week I will be spending a few hours a day at Project Space in downtown Salem, Oregon, with my friend Bonnie Hull.  Having a busy summer schedule, but both still not wanting to miss the conversations of working at Project Space, we decided to work for a week together.  Each of us will bring a stitched piece and chairs.  If you are in the area, please stop in and chat with us.  We will be down there Tuesday through Friday (and maybe Saturday) from 11 - 2 p.m.  This year Project Space is in the Liberty Plaza at 285 Liberty, upstairs in a huge shop area.  Just head upstairs, I don't think you'll miss it.

For those of you who don't know or don't remember, Project Space (or PS if one gets tired of typing out the full name as I do) is coordinated each summer by the Salem Art Association.  A vacant building or large space is donated by the owners for use of the artists and some use it as a gallery, some as a studio, and some as a performance space.

Here is part of a painting I hope to have finished before Monday to display at PS:

It is using that grid work as before, this time with a bit of my garden in it.  Wasn't sure it was going to work for me, but it seems to be coming together in the end (not that you can tell here...).  Phew!  It is part of an ongoing collaboration with Bonnie, a sort of conversation and reaction between the two of us.

More on PS later...

Sunday, June 1, 2014

Grid Painting

In my last post, I introduced some new paintings using a new-to-me technique: grids.  I came to using grids for two reasons.  One, I want (and have wanted for some time) the focus of my painting to be about the process and two, I want the viewer to be able to see, at least somewhat, that process.

The idea for my process is to have a clear set of ideas, or rules, at the start and to follow and see where that leads me with the painting.  I actually started this idea, still using a grid (though as I was playing around I didn't strictly follow the grid yet), with dots:

In Progress
To start, I couldn't think of anything more process-oriented than dots.  My hope, too, was that the viewer standing back would not necessarily see the dots.  Then coming closer, they would come into view.  I like the idea of the optical trickery.  However, I had not yet finished a painting using the dots and with a show, Pulse, quickly approaching I decided to go to what I planned to try eventually, which was brushstrokes in the grid instead.

First, I photocopied a vintage photograph making it larger and easier to work from.  I ended up doing a color copy as it made these lovely greenish-blue colors rather than the sepia tones in the original photograph.  Then, once I knew what sort of grid I would use on the panel I drew it out on the copied photograph and then on the panel.  I selected particular paints to use and began one square at a time never painting squares next to each other in single painting sessions.

Each time I started a new group the paints used were mixed slightly differently so that each square was like its own little painting:

And here is, as you saw in the previous post, the final painting:

The first of these paintings, I had to start with it turned upside down to stop myself from moving from one square to the next automatically.  Over time, I was used to it and could paint with it upright.

I still need to finish the dot painting, but I have many more ideas for these grid paintings including trying it with landscape, still life, different ways to try out the portraits, ...  Just need more time...