For a number of years I have been doing monotone paintings. I mix black and white oil paint to a limited number of tones usually 4 or 5. I use these to paint my subjects. l love doing these paintings however when I crave more colour I can revert to my full colour palette. My website now has a gallery showing a selection of these paintings, which you can see from the following link http://ginawright.co.uk/monotone.html.
I was recently visiting a friend in Balmerino and decided on my way home to do some sketching.The gardens and grounds of these cottages have always attracted me and they were looking particularly good on this day.
I was invited to exhibit at the Summer Collection 2016 at Eduardo Alessandro Studios. The exhibition runs from 2nd July to 20th August.
We have been having lovely sunrises and sunsets this month. The two paintings here were done on the same day. One from the studio window and the other after a walk that afternoon in the countryside near by.
Last thing before retiring to bed I went into the studio and was presented with a spectacular sunset. Only one thing to do was to try to capture its essence in a matter of minutes. I just grabbed a scrap piece of pastel card and a box of pastels and worked on this study. I could barely see the colours in my box however my hand seemed to guide me towards the colours required. Using vibrant pastels I have managed to recreate the sunset as I remember it. The next morning it was nice to see this study in daylight.
After a busy time with the open studio I treated myself to lunch at Pillars of Hercules. I had intended to do outdoor painting when I was out and about. As soon as I sat down I knew I wanted to sketch the view in front of me. Fortunately I had my pastels in the car and a board to work on. This was the sketch I worked on. Lunch was excellent as always, great place to relax.
This painting is a demonstration which I did last week at Cupar Art Club. I arrived with a prepared underpainting in watercolour. I talked through why I had prepared a watercolour underpainting in complementary colours. I then proceeded to apply the local colour of the scene leaving some of the underpainting to show through. This had the effect of making the colours sing and can lead to a more realistic looking painting. Multiple colours working together can give a greater sense of reality. Degas was aware of these techniques and experimented with a variety of undertones and underpainting techniques to get the effect he was after. It was useful to have my home made colour wheel at hand as shown above.
The first image shows how I started this painting. I blocked in a selection of complementary colours onto Pastelmat card which can take watermedia. Next I sprayed some pastel liquefier to soften and fix the colours to the card. Such a fun way to approach a new painting. I then did some light drawing with charcoal.The top layer of pastel was then applied in colours true to the scene.
Recent cycling trips through the woods at Morton Lochs have inspired this painting. Pastels are a good medium for capturing the luminous light through the trees.
Last year we had great weather, this year it was fantastic. The festival was very busy with people enjoying the beach as well as the artwork.
Every artist gets a blue board with their venue number and I add a painted driftwood sign because my venue is split between the wash house and the shore path (under gazebos).
This year the town was decorated with bicycles for Pittenweem In Bloom. At my venue we had a green bike and it was themed after Mary’s amazing garden.
There was some time to relax and inspired by Vivian Maier I took a self portrant.