From photos of a graveyard statues. The stone must have been beautifully carved, perhaps in the 1920s. Now it has weathered and has lichen growing on it. Some surfaces show the paths of decades of rain. Some of these have probably endured 100 winters, thousands of rainstorms and hot summer’s days. Lichem makes up most of the discolouration though there is moss in places too.
These are all on A5 cartridge paper with acrylic paints. Each has an acrylic ground which is dry before the image is started. There is no pencil makring up. Layers of paint are added as thin glases.
All are acrylic on A4 pages in multiple layers. The method is generally the same – prepare the page with a mid-tone ground; 2 sessions; work from mid-tones towards light & dark, last marks are black and pure white (often just a dot).
I may just leave this one as it is. It resides in an A4 sketchbook on prepared paper and only used a No.8 round brush. It’s excellent that brush becauyse it has a very fine tip so I have felt no need to pick up another brush. The immediacy of acrylic onto paper is refreshing after long weeks of work on oil paintings. I can see faults with those oils but am, frankly, sick of worrying about them.
This not my own paint, I was visiting and found some.old but good quality Cryla Galleria paint in the garage. The range of colours is very narrow and the white is very lumpy. Nonetheless, it gives interesting texture for free.
With the DofE season about to start, I fancy taking a set of acrylics for campsite evenings. They need to be small tubes and a selection that I’ll actually use.
Looking back at old sketchbooks, they were terrible. They were rushed and flat. No more than underpainting really. So now I’m trying to find how far I can go. In previous years, I’d work out an idea then swap to oil.
Another couple of hours while listening to Tom Yourke’s Sispiria.
To think I nearly scrapped this two days ago. I went to bed frustrated and disheartened ready to cut the page out of the book in the morning. The next day ( day 2), I washed over it with burnt umber glazes as discussed in a previous post. Today, with Tom Yorke CDs playing, I get to this stage. It looks better in the sketchbook than in this photo.
There is a lesson to tell the kids at school. They often abandon pictures in the first half feeling a frustration akin to my feelings the other day. I must urge them to persist and show them how to fix rather than scap unfinished artworks.
I should have taken a photo after the 1st session yesterday. Problem was it was so fragmented that I was all set on scrapping the picture by bedtime. In the morning, various solutions were floating in my mind. Maybe layer up tissue paper and paint over that; prime the page with gesso; wash over with burnt umber.
I did the latter while looking at the photo without glasses. It will look better with some skin tones and hair, I hope.