Painting with Acrylics

17 March 2018

I might have discovered a new passion - acrylic paints.

Now, I am not new to Acrylic paint. In fact, I use acrylics a lot. From time to time I have written about them here on the blog. For instance, I am a bit of a fan of Paper Artsy Fresco Finish paints.

I use them for monoprinting (not for the faint hearted if, like me, you print with tissue paper! They dry quickly, one of their key features, which means if you don't move quickly the paint simply bonds the tissue to the printing plate) and for decorating background papers which I use for collage.

I also print with hand made print blocks using acrylics.

But I have never actually tried to just use acrylic paints to build up layers on their own.

I was inspired by a video from Laura and Linda Kemshall on DMTV. Laura demonstrated a hand painting using a background painted with Acrylics.

I was having one of those days when I just needed to find something really absorbing to do. What with the day job being very full on plus having to clear my late mums house, things have been hard work of late.

I just needed something really therapeutic.

The process is extremely satisfying. I started by building up blocks of colour. As you can see, some of the paints mixed on the paper. While you don't want everything to turn into a muddy brown, you also don't need to be too precious.

Once the background was covered it was then a case of adding pattern.

I used stencils, the side of an old credit card to print simple lines, the end of a paint brush to also dab simply shapes and scrafito (scraping off paint with the end of a small paint brush to reveal the paint underneath)

I gradually built up the layers, until I was satisfied. On this first outing I ended up with two finished papers. I produced them simultaneously (the same paints etc.) but just varied the backgrounds slightly.

I just love these. The big question is what next. I have ideas brewing. I am wondering about printing these onto velvet. I think they might make spectacular cushions. What do you think?

read article

Photography - setting up a back drop

11 March 2018

I have mentioned before how tricky I find photography - as in photographing what I make.

Previously I have rigged up a sheet to take photos - not ideal! In fact, quite a faff!

So my friend Rob (he of Rob and Andy) suggested a window blind I could simply 'pull down' to create a backdrop.

So simple in principle, but not so easy to execute!

I went on a quest for a plain white blind with fabric thick enough so you could not see a hint of what was behind.

And it seemed like an impossible quest. Pretty much everything was either patterned or only semi opaque.

And then the hanging mechanisms began to do my head in.

And I nearly gave up.

But then, in Dunelm, I had a brainwave!

Dunelm sell black out curtain lining off the roll and by the meter. That, I thought to myself, could work - especially if I also take a cardboard roll to roll it on and then, somehow, hang it from the ceiling.

And then the whole thing got even easier because I selected a roll that was nearly finished (there were only a couple of meters left on it) and ended up with the fabric I needed and still attached to the original cardboard tube.

This tube I hung from the studio ceiling - or rather off the roof joists (its a simple conservatory with a polycarbonate roof mounted on timber supports) - a slightly Heath Robinson affair with rings I found in my tool box and fishing twine threaded through the tube so that it can be 'rolled' by hand.

And it works - it can be dropped down and onto a table top and then rolled back up when I have finished.

It doesn't quite have the finesse of a proper studio set up (or even a blind - it's a bit of a fiddle to rewind) - but it works! And it did not break the bank!

Though I still have to work out how to photograph framed pictures without getting some reflection in the glass.

read article

Edinburgh mini break

7 March 2018

Only it wasn't - a mini break, I mean.

It was a work trip - I was there with the day job.

And it was a bit of a flying visit - not a lot of time for anything much other than day job stuff.

It has been quite a few years since my last visit to Edinburgh.

I travelled up by train - very civilised and beautiful views as we passed through the Borders.

I arrived at Waverley Station - that had had a bit of a face lift since my last visit (which, let's face it, was a while ago!)

Waverley Station is right in the middle of Edinburgh. Princes Street is on your right as you exit, and the Castle and Royal Mile are on your left.

But I had to turn round and get onto a local train out to Edinburgh Park station - because my first meeting was out of the city.

And it was there (not right outside the station but in the business park adjacent to the station) that I came across this stunning sculpture.

I later discovered that this piece is by Sir Eduardo Luigi Paolozzi - a Scottish sculptor and artist, though clearly of Italian heritage.

I am not really familiar with Paolozzi, but it seems he was born in Leith, a part of Edinburgh, so was a real local.

I discovered this is called 'The Wealth of Nations'.

On the sculpture is the following Einstein quote:

"Knowledge is wonderful, but imagination is even better."

There was only enough time to photograph the piece, and I did not get the chance to explore it from all angles. I had a meeting to attend.

Back to central Edinburgh - I was staying in a hotel just off Princes Street. And as I was wandering around trying to find the hotel (note to self - don't rely on just the post code! Use the address!) I wandered past the Oxford Bar. It was getting late, photo opportunities were limited and I was on a mission, so if you squint you can make out the sign in this photo.

But it exists! And that was a surprise to me.

Now, you will be wondering why I am mentioning a rather unassuming little drinking hole tucked down a small lane behind Princes Street. But if you are familiar with John Rebus, the detective at the centre of the Inspector Rebus series of novels by Scottish writer Ian Rankin, then you will have heard of the Oxford Bar. I had just assumed, like Rebus himself, that the Oxford Bar was a fiction.

But I did not stop and investigate.

Instead, I had to find my hotel room - which turned out to be a rather lovely and well appointed little self catering apartment. That was a bit of a surprise. And ideal for a longer stay. But I was only in Edinburgh for one night.

If you are interested, it was called Eden Locke. I booked it without really knowing what it was - I got a late deal and really only chose it for the location.

The second day I had two business meetings. But, there was a bit of time between them. So I took the opportunity to explore an old haunt - The Grassmarket. This is a historic space, used for centuries as a location for horse and cattle markets and also, rather gruesomely, public hangings. It nestles under the Castle and is easily, if precipitously, accessed from The Royal Mile.

As a teenager, I lived at Stirling. I would take the train into Edinburgh and explore the alleys and tenements off the Royal Mile. That is how I discovered The Grassmarket and the stunningly picturesque West Box and Victoria Street that lead off it.

I remember it being quite 'alternative' - a lingering waft of joss sticks and a bit hippy.

I must admit I was prepared to be disappointed and for Costa Coffees and Starbucks to be prevalent - but I was presently surprised. The joss sticks may be be burnt out, but it was still full of quirky, independent shops.

And Edinburgh was as I remembered it - full of steps.

It was a flying visit and has whetted my appetite for more - I must return.

And to top it off, when I was sitting with other passengers waiting for the train home from we were treated to a wonderful, impromptu piano concert.

read article

Sketch book page with Brick pattern

3 March 2018

Another little page from my ongoing sketch book - the one with a floral theme.

But this time a little bit of collage.

It started with this print block.

You may remember I had a pretty productive Sunday a few weeks ago. This very simple print block was one of the outcomes of that session.

So, first up printing onto a blank page. In this case I used koh-i-noor inks from a palette - applying it to the block with a brush.

Then a simple wash of pink/pale red.

I highlighted the bricks with a pen.

Then I added ivy leaves - snipped from a painted book page (one of the many books from my stock of charity shop book finds - chosen for their paper, sometime for their words and sometimes for their pictures).