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oooo! I have a "named sentence" in a review of 5 x 5 x (5) at the Torpedo Factory Art Center in Virginia.
"Jo Bradney also had a simple but comforting oil painting of bottle caps."
I find it an interesting choice of words. Does anyone else find the painting "comforting"? If not, what feeling does it inspire?
Read the Full Review at the Falls Church News Press online
Having these mini blog deadlines every couple of days is really helping me to stay on track and focused on the work. Just as well, with the impending deadline looming large (Feb 13th!).
I am also finding the daily documentation of the work useful for assessing the picture as a whole, something I usually leave until the end. Once the picture is "done" I will usually live with it for a while. I put it in the living room where I will look at it throughout the day and in different lights and gradually make a list of things I think need fixing.
But photographing the work daily has made me stop and assess the work in progress. For instance, the top yellow plastic bag looks far too green to me. This is the sort of adjustment I would usually leave until the end, but now I think I will fix it tomorrow.
The shadow areas in the top of the picture are darker than the one in the middle, but by keeping the overall color in the blue-purple range it does not overshadow the red-purple shadow of the focal point.
It also gives a sense of depth in what is a limited space, as the top portion of the drawing recedes into space.
I don't always start in the middle, but it seemed appropriate with this image.
It is the focal point of the whole picture with the area of greatest contrast and with the juiciest dark shadow. If I complete this section first I can make sure the other portions of the picture won't overshadow it.
To protect the ends I am not working on I have taped tracing paper to my drawing board. This means I can lean safely, without smudging the under-drawing.
I have colored the shadows with my favourite purple crayon - Harold would be proud.
(Faber Castell Color Pencil #249 - Mauve...in case you're taking notes. )
I can now start to see the patterns of light and shade that draw me through the composition (no pun intended). With the darkest part of the picture on the top and all the light at the bottom, I think it will be an interesting challenge not to make the picture feel top heavy.
I see beauty in all sorts of odd bits and pieces of everyday life, usually just before I throw them in the garbage, something will catch my eye and that trash gets treasured away for another day.
I have been hoarding a really cool broken lightbulb for a while now, fascinated by its fragility and all the inner workings you never see - just waiting for the right idea to come along. Then a Christmas gift of a book on chalk and charcoal drawing lit the "idea" bulb over my head and I was off...
I’m really pleased with how it came out, with the juxtaposition of subject matter and medium; light and dark; high tech and the most basic materials and the metaphorical fragility of an idea.
Now all I need is a title. Do you have any ideas?
I am back working on a new LARGE color pencil drawing, and it is so good to be back; to be able to stretch my elbows after the confines of a tiny miniature.
I used to be a bit daunted by all that white paper, but now it's like a clean empty room, just waiting for me to fill it up with beautiful color.
Picture measures 7.5" x 25", so a nice long skinny one.
I am using Fabriano Smooth Press 300lb watercolor paper, I think that is the same as Hot Press.
I measure the original photograph and mark the mid and quarter points. I then do the same on the large drawing. The sketch is freehand, but those measured points provide a framework to make sure I keep things on track.
I usually stand to sketch which enables me to see the overall picture, rather than getting stuck on details and helps me to check the angles with the photograph. It also means that I draw from the shoulder, rather than from the elbow or wrist, so the drawing stays looser.