Monday, 22 November 2010

Train Driver

I have been under the weather since the NEC with the seasonal virus which has laid me low.  No enthusiasm or energy for anything until today.  So finally got this finished.  Just need to think of a suitable title now, any suggestions?
Also received a wonderful comment on my Charlie portrait from well known Canadian CP artist Bernard Poulin "... "Charlie" is the most huggable portrait I have seen in a long, long time".  I was well chuffed.

Wednesday, 3 November 2010

NEC Art Materials Live event

I will be on the UKCPS stand at the NEC on Thursday, please come and say hello.

Back at the drawing board - Train driver WIP

At last I am back, pencils in hand, inspired and full of enthusiasm.  Hope it lasts.  This picture is from a photo I took on the Somerset Railway last year.  If fact the driver was so much like my brother-in-law I have tweaked it slightly to give a closer resemblance.  I am using black Stonehenge paper with Prismacolor and Caran d'Ache pencils.  The finished picture will be A3 but most of the right hand will be black paper with a few gold lines.  I am taking a risk here with composition as the driver will be looking out of the picture and the focal point to the extreme left but I can always crop it if it doesn't work.

Picture 1.  I started with the sky as I knew this would be the biggest challenge.  Could I get it smooth?  Could I disguise the pencil marks with clouds NO WAY!!    Three hours later, using every technique I could think of I gave up.  The sky looks far more grainy for real than it does in the photo.



Picture 2.  Another sheet of paper and with next years UKCPS mixed media exhibition in mind out came the pastels.  No problem sky done in ten minutes duly sprayed with fixative and ready for the CP onslaught.  A couple of issues I hadn't bargained for, the fixative didn't completely fix the pastel and had also changed the properties of the black paper so the CP behaved differently.  Ah well another learning curve, I like a challenge.  I think I prefer working on the f'ixed' paper as it is less absorbant and therefore requires fewer layers.  I keep smudging the pastel as I am working but it lifts easily with Blu-Tak and a soft rubber so I am not too bothered at this stage. 

Picture 3. Face and cap finished, starting to define the overalls.