Why is it what it's in?

They've gone. And to a very good home, where they certainly belong. But I still had a slightly sad moment when the dog pictures were collected this week. Only a bit sad though, not a gut-wrenching depression over it, you understand! I always get slightly emotionally attached to my artwork, even when I'm only creating it because someone has asked me to and I would never have considered painting it if it wasn't a commission. But, when I've put in long hours creating it, and sit back and admire it, and think with pride "Wow, I've painted that!" I can't help but be emotionally attached to it to a degree. But I also know that the painting will be loved and cherished where it's going to live, so that makes me happy too.

I was asked this week by a friend, who is not artistic, how I knew what to paint the dogs "in". Interesting question. And one what I can answer instinctively (although perhaps not too much considering that the "instinct" is based on many years experience and lots and lots of practice!). The dogs were painted in acrylic dry on dry (dry paint on a dry paper) as I had to pick up all the little nuances of colour and tone, and give the illusion of hair and fur. Its not a technique that I normally use but its just perfect for animal fur. Having said that I've painted a lot of tigers in watercolour using the wet on wet technique (wetting the paper first and pouring the paint on). That technique is lovely for creating swirling shapes and movement, and I use it a lot for the tango paintings too as it gives the illusion of movement, perfect for dancers. And I'm pretty sure when I do the illustrations for the unicorn book I shall use bright watercolours for the lovely mystical colours and shapes that add interest to fantasy paintings. And I adore using oils, although they take a lot longer, as the buttery texture merges and blends so well and the colours just flow, even though painted a different and controlled dry way they can be painted just as dots of bright colour on a contrasting colour well too. And I sometimes draw with pencil, giving lovely tonal depth to a monochrome drawing where colour can be superfluous to the overall effect. And then I sometimes use pastel or chalk to create chunks of colour in a figure drawing, utilising a fine point of the same colour for the details where they are needed. And when I want to be finely detailed in a picture of buildings, pen and ink is perfect for it. And then there's the joy of using mixed media, and just using whatever is at hand to make interesting textures and create movement and vibrancy in a painting (and usually getting very messy in the process, what joy!!). So, some subjects lend themselves to certain mediums. So, that's how I knew what to paint the dogs in - acrylics. Of course, if someone wanted a particular piece of artwork painted in oils instead of watercolour, or acrylics instead of pastel, then that's what I'd do. Its not that difficult to use something else, and it will certainly give a different effect by using differing mediums. And that's why I'm interested in the effect I'm getting painting over the acrylic painting I did three years ago, but in oils now. The tones are far more subtle for flesh and skin and the painting is so much better for the change. I'm working on the faffy bits now - the tiny details that make or break a painting. The toes, the colour under the arm, the sharpness of focus around the nipple, and particularly the hair. I want the hair to be soft and flowing, the sort you want to run your hands through.....

This is the painting I'm talking about at the moment. It looks so different to this now, already. And I've got some more work to do on it. Count this as the skelton to the finished painting - the same design, but filled out more. I don't even like the original title for it now, and will think of something more fitting for it.

And today I most definitely feel a colour. Do you ever feel a colour? Today my colour is gold with facets of lime green, and with sparks of bright cream coming off it. Yep, most definitely!

Why I'm not sunbathing

.......This is just me musing out loud.....

..... every so often I have time to sit back and have a think about what I want, and how I'm going to get it. And if its a small thing I usually know exactly how I'm going to get it, and I go out and do just that. But, if its a big thing, how do you get it? Especially when you're not exactly sure what "it" is! MMmmmm.....

As an artist you have to decide what sort of artist you are - whether you're the sort that sits at home and just paints pictures for yourself, copying them from photos in magazines and just putting them under the bed afterwards to collect dust. I'm way past being that sort of artist. Or whether you're the sort who goes out and learns more about art and painting and improves on your art, learns new techniques, finds local places to exhibit and sells small paintings very periodically for small amounts of money. I'm past being that sort of artist. Or whether you're the sort to decide you want to get out there (wherever that is!) and push your art more, and get more people interested in you, sell your work for higher prices and make a good living from it. And it's very difficult for any artist to do - all the artists I know have to subsidise selling their art by either teaching art to bring in a regular income, or having a "day job" that pays the bills and they do their art around it. So, if you're that sort of artist (and I know that I am) how do you do it? How do you achieve that goal? As far as I can see it's by promoting your art the best you can. And maybe its by going to an established gallery and getting them to hang your paintings. I've tried to a degree with little success. Galleries won't accept your work if you don't do the sort of work they're known for. If you're a figure painter there's no point in going to gallery known for landscapes. If you're a traditional watercolourist, there's no point in going to a modern art gallery. And also they won't accept you if you're not a "known" name. But how do you get to be "known" if they won't take your paintings? I've had problems in the past trying to get into a gallery, as my artwork doesn't "fit" what they do, as its neither traditional or contemporary. And also, there's the problem of the amount the galleries want for selling an artist's work. I've heard recently of an artist who isn't as good as me, selling his artwork in a London gallery and the paintings selling for £2,000 but the artist will only get £300 when the gallery have taken their cut of the sale. And I want a higher cut if I've done all the hard work, like painting it! So, galleries can be useful to sell and promote, and I can see the value of them, but if I can do it without them, I'd like to try, even if it is going to be a slower process to get my name known, doing it myself.

I suppose I could just drift along, waiting for things to happen, but that's not going to achieve much is it? Occasionally someone will contact me out of the blue wanting to buy a painting, and maybe that'll happen more and more as I get my name more well known. The more I paint, the more paintings will go out into the world, the more people will see them and contact me. So, do I spend my time promoting my work? Or painting? I want to paint. If I was to shut myself away for a year, I might just be able to do all the paintings that I've got in my mind, ready to paint. But I need to promote as well.

And maybe the answer is also to get prints made of my work, cos that is where the money is made for an artist, rather than the originals.

And all of this is why I'm not sunbathing. The sun is glorious at the moment, but I'm not in it. Because I have to paint. Or promote. Or look for a gallery. Or find out about prints of my artwork. Plus I've got a Christmas card to design. Not that I'm going to be paid for it, but because it'll be good promotion for me, and maybe, it'll bring some more work in for me. Maybe......

All change

Recently I've been looking at a painting I've got in my studio, it's just been propped up against the wall for ages and ages. I did it a couple of years ago and everytime I look at it, something niggles at me that its not quite "right". I haven't been able to tell myself exactly "why" its not quite right, but I just know it IS....... MMm.....

When I saw my model this week she asked what the pose was for the session, and I nodded at this particular painting, since it was of her, and asked her what she felt was "wrong" with it. She looked closer at it, and said that maybe there was "something", but she couldn't say exactly "WHAT". I pushed her for more but she couldn't really tell me more than that, then added "You're the artist, you should know!" and she's right, I am. And I should. Its my painting. I created it. And if its not right, its not right. So, change it! OK. Decision made! But, change it to what? ....MMMmmmm........ More thinking.....

Ok, well, I know I wasn't happy with it being done in acrylics, and felt that it would have been a better painting in oils, so at least it was a start, to do that. Acrylics are often used as a base for oils, so it's quite natural to paint over acylics in oils and let the original colours show through a bit. Ok. Set up the pose again, and paint over the painting in oils. Gulp. Paint OVER? As in lost forever if I get it wrong? Yep! Ok........... If you're sure....................

So, that's what I did. I painted over it, in oils.

And you know what?

It was SSSOOOOOOOOOOoooooooo much better for me doing that! The painting lost its harshness, its half finished look, its gaudy colours and harsh lines. The oils blended on the canvas, the colours were more muted, and so more subtle, the woman in the painting came to life, you could see flesh tones and she looked as if the blood was pumping through her veins. She looked so more sensual and sexy and the whole picture just looked a million times better. WOW!!!! It needs a little bit more work doing on it, fine details in hair and maybe slight changes in the background colours, but its done! Big WOW! I'm so pleased I went with my gut reaction, even if it was a long time coming!

And this week, I've been asked to design a Christmas card, and been given mostly a free reign on designing it except that ideally it should be a pen and ink drawing, and it should feature the crib scene, or the three kings, or the Bethlehem skyline. Ok, sounds interesting. Certainly something different! So, whilst the sun is shining (at last!) on Englands pleasant green lands, and everyone is talking of barbeques and sunbathing, I shall be thinking of Christmas!