Leaves and Feathers

After a couple of false starts, I've zeroed in on the palette of colours best suited to the rendering of the sunlit fig leaves and it's full-steam ahead, one laborious leaf after another. Thankfully, when I tire of leaves, I can always return to the egret's feathers for some light relief!

While I've always been drawn to the loose brushwork of the impressionists, my chosen subject just doesn't lend itself to such an approach, so there's a slow progression as I carefully define the leaves and branches.

Cheers

Pete

Launch - Eastern Reef Egret

I feel a little guilty beginning a new painting when I already have one sitting around partly finished. However, I'm able to justify it in my own mind by considering how much I feel I'm learning from each painting project and how much better prepared I'll be when I eventually return to those in the queue!

Having advanced this far with the new painting, I'm feeling much more comfortable where my handling of the acrylic paint is concerned and, as a result, more confident of successfully completing the painting featured in my previous post.

A neat trick I picked up from one of Terry Isaac's books is to draw the subject - in this case a grey-phase Eastern Reef Egret - onto tracing paper. Having pretty much completed the painting of the background rocks, I've then positioned the drawing to best effect based on my earlier thumbnail sketches, and taped it into place. Slipping some white graphite paper under the tracing paper allowed me to transfer the drawing to the painting surface - you can still see some of the residual graphite where the egret's feet will appear.

As I write this, I can't predict with certainty whether I'll stick with this one or go back to the previous piece. I guess this makes me either undisciplined, indecisive or - an artist! Stay tuned for updates.

Cheers

Pete

First Steps - Again

After becoming disheartened recently with my approach to painting with acrylics, I've stepped back a little and reassessed my materials and my methods. As I've described in earlier posts, my technique previously relied on applying layer after transparent layer of heavily diluted paint to sealed watercolour paper, gradually working up to the intensity of colour and tonal value I wanted. I like the textures I'm able to achieve using this technique and have generally been happy with the results unless I've been careless with the application of paint and have overshot the mark. Without the means to "undo" a layer or two, I've often been left with nowhere to go.

Something about Kelly Singleton's recent post of a work-in-progress featuring a pronghorn antelope provided the spark to rethink my approach and, after re-acquainting myself with the methods described by my idol Robert Bateman, I was inspired to return to gessoed masonite and opaque acrylic paint - Bateman says he mixes white even with his darkest colours to achieve this opacity.

My first day with this painting was extremely frustrating as I struggled to find a technique which worked for me. Initially, I diluted my paint as I have in the past but it was as if the gessoed surface repelled the paint, forcing it to clump uncontrollably. Once I'd experimented with a thicker consistency, the paint behaved more predictably and I began to feel I was making headway. After several days work, progress has been slow, but I'm really enjoying the luxury of being able to paint over any areas requiring adjustment. Without the pressure to get it right the first time, it's as if a huge weight has been lifted from my shoulders. The painting measures 36" x 18" and, at my current pace, might be finished by Christmas! My aim now is to develop a faster method of working without compromising the results. Most obviously, I need to modify my process and begin by blocking in to establish form and tone before I begin to refine the painting and add detail. In my defence, I was keen to bring at least a small part of the painting to something approaching a completed state just to prove to myself that I could apply these unfamiliar techniques successfully.

I'll be making good use of artistic license and will insert a dingo into the lower right foreground. I've not seen one at this spot yet, but their tracks are commonplace and I don't think I'm stretching the truth too much. With an abundance of wildlife in the area I'm sure a dingo has stood in this spot at some time, or will at some point in the future!

Cheers
Pete

Roodly Interrupted

Interrupted

Conte and pastel pencil on Canson Mi-Teintes pastel paper

12" x 16 1/2"

At the risk of being labelled "the roo guy", here's a new drawing I completed over the weekend. Once again, the reference photograph was taken among the spinifex grass and stunted shrubs along the coastal fringe adjoining Western Australia's Cape Range.

I seem to be able to complete these Conte drawings in days rather than the weeks required by my larger acrylic paintings. Apart from adding a little variety to the work I have available for sale, they provide some welcome relief from the more challenging and time consuming paintings and help me feel I'm actually achieving something!

Cheers

Pete

If It's Signed, It's Finished!

Dining Out

Conte pencil on Canson Mi-Teintes pastel paper

16" x 16"

I've made a few subtle changes and sharpened some of the spaces between the foreground grasses. I could go on and on fiddling with the grass stalks, but I doubt that the drawing would be improved as a whole. I remind myself that the viewers' focus will be on the 'roo anyway!

Cheers

Pete

Grass Hopper

Untitled

Conte pencil on Canson Mi-Teintes pastel paper 16" x 16"

Until I'm more comfortable with my acrylic paintings in terms of process and technique, larger pieces such as one I'm struggling through at present will take several weeks to complete. I accept that producing a good painting demands a significant investment of time, but there's a sense of frustration and urgency which creeps into my thinking when I consider my dismal output of late and the limited number of works I have for sale. I'm sure negative thoughts like these reduce my level of enjoyment and have a detrimental effect on the standard of my work. With that in mind, I plan to begin the working week with a drawing such as the one shown. Of course, my paintings will now take even longer to complete, but at least I'll be adding to my collection of work for sale more frequently.

The reference photograph I used for this drawing was taken earlier in the year during our annual pilgrimage to the Cape Range National Park in Western Australia's north-west. Kangaroo watching is a favourite evening pastime while we're there and I've written about it on my web site here.

I'll spend an hour tomorrow morning refining the foreground grasses, darkening the spaces between the grass stalks, then sign it and breath a sigh of relief.

Thanks for visiting!

Cheers

Pete

It Pays to Advertise

I made reference to Google Adwords and Google Analytics when I announced the launch of my new web site a few weeks ago. As luck would have it, I received a promotional offer in the mail last week and took advantage of it to create a new Adwords account with the $75 credit it provided.

During the weeks following its launch, my web site had typically been receiving a meagre 3 or 4 visits per day, largely by way of the link displayed at the top of this blog. With my advertisement running over the past few days, however, Google Analytics shows that this figure has risen to almost 200. While this exceeds my expectations by a huge margin and is undeniable proof that it pays to advertise, it's a useful reality check to delve into the information made available by Google Analytics. My ad is not specifically targeted at a particular geographic region and not all the keywords I originally nominated are strictly art-related - for instance, keywords such as "wildlife" and "animals" were in my list. While it's true that clicking on my ad is a conscious action, it can't be assumed that the same people whose primary aim it is to find web sites dealing with animals and wildlife are also potential art collectors. With that in mind, I've reviewed my keyword list and have removed any I feel are too general. I expect visitor numbers to drop accordingly, but as compensation I know my advertising budget will stretch further and my money will be more effectively spent.

I don't quite know what to make of the fact that a large majority of visitors are from India. My initial reaction was to consider removing that country from the list of targeted locations, but doing so might just highlight my ignorance of the vast changes occurring in that country. I know there's an exploding population within India which can best be described as the new middle class. I have little idea what their spending inclinations are and I'm the first to acknowledge that I'm as much in the dark where that's concerned as I am on many other topics! Given that I'm experimenting at this stage, I'm happy to sit tight for a while longer and observe what happens where sales are concerned.

And yes, of course, I'm acutely aware that converting web site visitors into customers is another "art" entirely!

Cheers

Pete