Sunlit Autumn Stream

I ordered some Sennelier Pastel Card and it arrived today.

It is very different to Clairefontaine Pastelmat, which has the texture of velvet. This Sennelier card is like a fine grit sandpaper, which has both disadvantages and advantages. It holds A LOT of pastel but because it is so rough, tends to make the pastels crumble, something I’ve never experienced with Pastelmat.

Anycase, for my test piece I did this:

Sunlit Autumn Stream
Sennelier soft pastels on Pastel Card , Caran D’Ache pastel pencils

I used the dark green toned Pastel Card and it is 24x32cm or 9.5 x 12.5 inches

2021 snapshot

Here is a selection of my favourite pieces done during the last plague year (hopefully it’s the last one hey?!) – some of this work was done for course exercises. Thank you for everyone’s support, inspiration and kind comments.

Something in the woods

Found a scrap of Pastelmat, so of course had to do something ‘woodsy’ to it …

The set up
Getting there
‘Shelter’ soft pastels on Pastelmat 24x9cm

I really like trying chiaroscuro effects with pastels. This is not as loose as my other woodsy pieces – maybe ‘cos I was working on such a small piece of Pastelmat and that tends to make me fiddle about. Anyway it was fun to do.

Source image is a still from this video :

Mixed bag of goodies

Been dabbling with new art supplies (Santa was very kind๐ŸŽ…๐Ÿ˜)

Acrylic pours

‘Sea of Dreams’ 25x25cm on MDF canvas panel
‘Insomnia’ 20x20cm on MDF canvas panel

pastel

I received some Unison soft pastels over Christmas, so tried them out with the Sennelier and Rembrandt ones, as well as handmade pastels from Cumbria

‘Edge of Tyrells Wood looking towards fields -December 2021’
30x20cm Soft pastels on Pastelmat

Cheers!

Forest

‘Forest’ Soft pastels and ink on Pastelmat
23x23cm

Hope everyone who pops by here during this Silly Season has a phenomenal Christmas and all the very best for 2022!๐ŸŽ„โ˜ƒ๏ธ๐ŸŽ๐Ÿ’–๐Ÿฅ‚๐ŸŽ…

Mixed media on canvas

This is a piece I did recently on a recycled canvas, which had been previously treated to considerable abuse (i.e. covered in concrete and God knows what else). I used soft pastels, inks, pens and then decided to use black acrylic enamel for two of the tree trunks, as I wanted a really black, black for the trunks. I was told that this appears to be a bit on the sinister side, that wasn’t my intention when I did it but I can see that now. Anyway, it’s larger than most of the stuff I’ve done lately.

Dark and light in the forest – mixed media on stretched canvas

I’m also using this post to test out whether it connects and posts to my FB/ Instagram feed. Who knows hey?!

Autumn

Nothing Gold Can Stay

BY ROBERT FROST

Natureโ€™s first green is gold,
Her hardest hue to hold.
Her early leafโ€™s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

A response in soft pastel:

I’m possibly going to start changing aspects of my art in coming months as I embark on Level 2 of my degree study. I anticipate a lot of experimentation and deviating from my usual style .. so apologies in advance if some of the things I post on here seem to be at odds with who I am.

Enjoy the wonderful colours of autumn (in your area) ๐Ÿ˜˜

Shelter in the woods

For some time now I’ve been following a guy on YouTube who makes bushcraft videos. He’s based in Turkey. There is no annoying commentary, special effects or music … Just him and his Belgian Malinois trekking out into the forest (or other wilderness areas). It’s so therapeutic watching his videos and has been inspiration for many of my woodland soft pastel paintings. This is a new one:

‘Shelter in the Woods’ soft pastel on Pastelmat 27x20cm

I took a screenshot from his video to use as my reference photo. You can find the video here:

Enjoy!

Soft pastel art

A few new pieces (various sizes – all on Pastelmat)

Smockmill Common Tree Study 19x22cm
Last Poppy 30x45cm

Defining my artists’ voice.

I have been doing a lot of introspection these past few months, trying to understand why I make art. It’s a simple enough question to ask, but in my case, I thought it was an especially difficult question to answer. I just make art, it’s what I’ve always done. Full stop.

In order to try and figure out what your artists’ voice is, you have to have some sort of definable vision. Work created has to be a reflection of that inner consciousness. You are trying to make stuff that is familiar to you, visible and understandable to people around you. Previously, I never stopped to think, when I started working on a piece of art, what I was trying to accomplish with it, what was I trying to say? This stems from my almost total lack of self-confidence or belief in my own self-worth (another story). I have never considered what I wanted to paint or try to say was important, or had any meaning at all, other than the finished piece made me feel good (or not, depending on the fight I had with it).

I have been on a lot of websites lately that try to pin-point how we define commercial or creative success as artists. It’s nice if we sell paintings or obtain recognition from our peers but that’s not what drives us as artists, it’s not the thing I set out to do when I begin a painting. I don’t stand there before I even start and say to myself, ‘Alright, how much money could I make from this thing?’ I don’t think about that at all, I never have and I doubt I ever will. I think it would be the death of me as an artist if the single most important aspect of my creative life was to determine how much money I was going to make from that day’s activities.

I have tried to think if there is one single type of art that I do that readily expresses my personal artistic vision and is relatable or engaging to a broader audience. I tend to flitter about a lot – and that is no help – however, lately I have come to realise that my strengths lie in a particular style of work that I do – landscapes using soft pastels. More and more, it is becoming a genre that I want to stay within.

Whilst thinking about all this, I hurriedly wrote down the following paragraph:

I capture essence, light and the emotion of a scene. I am not concerned with the minutiae of reproduction to create photo-realism. I want you to feel the place, smell it and touch it. I want you to be with me in that wild space and absorb its peace. In so doing, I hope that you will protect and nurture it, with a fierceness that is contagious.

For now, I think that sums it up.

New large Soft Pastel

I have been a bit quiet posting on here lately. It’s not that I’ve done no work, just lazy double posting, as I put a lot of stuff on my Instagram these days.

I have just finished this one:

‘Early autumn woodland stream’

This is on recycled stretched canvas, which I covered with organza, then primed and worked on the painting with charcoal, inks, iso alcohol and soft pastels. It is 3’x4’x1.5″ deep or 100x120x4cm.

Here is a pic of it hanging:

This is a gallery of photos taken whilst I was making it.

Framed!

Received my custom made frame today:

Very pleased with it. It’s available for sale, ready to hang. If interested please email me: lucretia610@gmail.com

Update

I seem to put images and info of new art on Instagram these days and then forget to post here! Sorry๐Ÿคช

These are some images of latest work:

I also sold this ink monotype piece yesterday ๐Ÿฅฐ๐Ÿ‘๐Ÿ˜:

Seascape

Monotype Notecards

i have at last received labels for the backs of my cards, which were professionally printed in the Netherlands.

I am building up a varied range of designs and colour combinations. Coming soon … Watch this space for details of where to buy!

Monotype Notecards

More designs – this time, abstract landscapes, using plants and organic matter to create the images.

I am waiting for the labels, which I ordered last week and then will be taking batches to local card and gift shops in this area – hope i can sell a few!

Monotype landscapes

these were all made using a gel plate, many layers of acrylic paint, plants .. on Japanese paper. Each is about A4

The Creek
A walk on the wild side
A bright day

Monotype Notecards

Trying out monotype techniques on Japanese paper..quite liking the effects. I sell these original notecards ..

Monotype

I am becoming obsessed with monotype processes! I have done a lot of work with gel press plates but last week I obtained a sheet of plexiglass (about A2 in size) and have been doing some experiments towards coursework (portraits mainly). I have also been using it to develop some layered landscapes. I am using acrylics at the moment, although my Caligo printing ink should be delivered today and I can start messing about with that. I am fascinated with the process of creating monotypes and how different each one can be. I had a kinda of plan for this one but the trees took over. It’s inspired by all the woodland I visit on my wanderings around these parts.

‘Trees’ monotype acrylics on paper 23ยฝx 16ยฝ”
Detail

A gift for Carms

I have an ex-pat South African friend who now lives in New Zealand. She is always so supportive and appreciative of the art I do and regularly comments on my social media pages whenever she sees something she really likes. She has no ‘art’ on the walls in her new house, so I decided to gift her something. I asked her what she would like – landscape, realist, abstract? She has always liked a ‘dotty’ abstract painting I did (which is very large about 5foot by 4foot).

After trying a few ideas out – that I didn’t like ๐Ÿ™‚ – I decided to just play and create something happy and positive – kinda like her. Funny, I could hear her voice in my head as I was painting, i think that’s a good thing! Here it is:

‘For Carms’ acrylic on Atlantis paper.

I tore a section of paper to about A2 size from my giant piece of Atlantis paper, the painting itself is 55 x 37.5cm in size. I used Amsterdam, Winsor&Newton and Golden Open acrylics.   The surface of the painting has been sealed with an acrylic binder.

‘For Carms’ – showing border around painting.

About the paper

Atlantis Giant 400gsm – this is a very durable and high quality paper for artists needing a large surface format (It comes in a huge roll – and the paper sheet size was 60โ€x 48โ€ / 1524 x 1219mm). It can be used for most main applications ranging from watercolours, gouache and drawing through to silkscreen and acrylic. Made from 70% highly refined woodfree pulp and 30% cotton fibre. Acid free. Buffered with calcium carbonate, pH 8.5 (hot extract). The paper is gelatine sized, un-watermarked. NOT surface. Two deckle edges. Available in White only. It can be purchased direct from Atlantis here: https://www.atlantisart.co.uk/atlantis-giant-watercolour-drawing-paper-400gsm/ (this is not an affiliate link!)

I will be rolling this painting into a large tube (adequately protected first) and shipped off to New Zealand as soon as I can. Hope she likes it.

Monotype landscapes

I use a gel plate, which once painted on is folded to create a channel in the paint. I use Golden Open Acrylics. Then I lay it flat and may use a stencil and dot with isopropyl alcohol before taking a print. Afterwards, I work into the surface with soft pastel pencils. This is all still in the experimental stage but lots of fun.

Monotype landscape
Monotype landscape 2
Monotype landscape 3 (with stencils)