Pen and Ink Exploration

Pen and Ink - Breakers Two

I'm not sure what started me on this particular exploration of pen and ink but I do find it quite enjoyable.  I work in a variety of media: Watercolor, Charcoal, Acrylic, Oil, Pencil, and most recently Gouache, and Mixed Media experiments.  I'll write more about the differnt media in subsequent posts.

I do find that the different mediums I work with all inform one another.  For instance, I find working in pen and ink makes me think further about composition and design as the medium is so direct and unforgiving.  I know that I've barely scratched the surface of Pen and Ink.

I enjoy studying the many moods of the ocean.  The power of the waves.  The color and the shapes in the rock and in the surf, the reflections of the sun and moon, the mist, sea fog and foam, and , the movement of the waves create constantly shifting and new fascinations to me.  This is all purely the visual and doesn't even take into account the impact of the sounds and smells of the ocean.

The same composition of rocks and beach or a cove could literally be painted daily or throughout the day and every painting would be different.   Claude Monet studied the effects of light on subjects in series such as haystacks, Rouen Cathederal, Houses of Parliament and more.  The same subject in different light and atmospheric conditions held his interest (not to mention ours for more than a century) because the challenges presented and, therefore the subjects themselves were, in fact, different.  Sometimes subtle differences, sometimes dramatic differences.  

I remember reading a note from Winslow Homer describing one of his paintings to the dealer, describing in great detail the lighting effect of the clouds being 15 minutes before sunset and how different the lighting would be 15 minutes after sunset.  It's not something that the casual observer would even notice, but master artists such as Homer and Monet could never be described as casual observers of the world around them.

It's interesting to note that even people with little to no interest in art can, if they are familiar with the subject matter, can "tell" if a realistic picture "rings true" with their expereience.  They may not be able to describe what is right or wrong with a picture but their "gut" will let them know if something "isn't quite right."

Scarborough Barn

Old Country Church

Let it Go! Watercolor and Tracing Paper Experiments

These paintings are quick and simple experiments utilizing watercolor on tracing paper.  I occasionally paint on tracing paper as a quick way to get down some ideas for paintings.  This has always been studio work for me.  

To say that tracing paper is not meant for watercolor is an understatement.  However, I also find that not considering a painting for display is incredibly freeing.  The subject matter was inspired by Aiden Lassell Ripley.

The second painting is simply a view of the reverse side of the paper.  It shows the mirror image of the composition.  This can be done electronically through most photo editing as well, but I like to work with brush on paper.

The bottom painting view was a simply accident.  I placed the tracing paper on my easal on top of a previously completed landscape.  This shows how I might combine the compositions into new paintings.  It shows what some different color combinations would look like.  Once again, these effects could be achieved electronically but I enjoy the practice with the brush.