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

Proof!

The process of turning my paintings and drawings into prints is proving to be a longer one than I'd anticipated, but it's an interesting learning experience nevertheless.

This is the first of my recent art works which I've chosen to have professionally photographed and scanned with the intention of marketing limited-edition prints. With such a narrow range of colours in this drawing, it's approaching the final saleable image fresh from the camera. Even so, there is still a process of to-ing and fro-ing to go through over the next week or so as my chosen digital imaging company colour-corrects and compares a series of proofs with the original drawing. Despite all the technological aids at their disposal, this is still largely reliant on a visual comparison. The more highly-coloured works undergoing the same process are much further off the mark at the first proofing stage and will require more significant adjustment.

After this morning's visit, I now have a greater understanding of the process and I anticipate several more trips to their premises before I'm happy with the results. In much the same way that there's some purely subjective point at which a painting is declared "finished", it will be a matter of judging when the digital images are close enough to the originals that further tweaking can't be justified.

Interestingly, the proprietor remarked that some artists choose to make major adjustments at this stage; the contrast or colour saturation in the digital image might be modified to differ markedly from the original, or the artist may even favour a totally different colour bias. Regardless of what's possible in theory, I'd like my prints to be as close a representation of the original as I can manage - I feel that to do otherwise would be verging on dishonesty. Or am I missing something? What do you think?

Cheers

Pete

Encounter at Dusk - Red Fox

I spotted this fox out of the corner of my eye as Sandi and I drove back to our camp at Yardie Creek after a late afternoon outing to photograph kangaroos and euros. The light had faded to the extent that we’d given up on 'roo photos for the day, but I decided that as I don’t often encounter foxes I should take my chances with the camera regardless of the poor light. Of course, zoom lens or no zoom lens, this was never going to be as easy as winding down the car window and clicking away while he posed obligingly.

Sandi pulled onto the shoulder of the road and, seeking to emulate a dashing and much younger David Attenborough, I leapt out of the passenger's seat dramatically (I've always wanted to do that!) and took off after Reynard as he turned in the direction of the nearby escarpment. I must say, he didn’t seem too concerned at the sight of an unfit, middle-aged Two Legs pursuing him with a camera and he trotted off sedately, safe in the knowledge that I’d only ever head him off in my dreams. Even in the dim light I’m sure I detected a grin on his face as I stumbled over the rock-strewn slopes. The degree of difficulty was enhanced by the fact that in the increasing gloom I wasn’t game to take my eyes off him in case he melted into the rocks and shrubbery for good.

My meagre reward for risking life and limb was three or four not-very-good photographs, the last of which features his rear end as he finally grew tired of our little game and disappeared over a ridge of rock, leaving me out of breath and grinning stupidly below.

Where the resulting painting is concerned, I began it with doubts in my ability to portray the scene successfully given the state of the light at the time and a poor reference photo. However, with the encouragement and guidance of e-friend and fellow blogger Dean Richards, I've exaggerated the contrast a little and will try to suggest a last glimmer of sunlight so that the fox - and the viewing public - are not left entirely in the dark.

My rationale for not featuring the fox more prominently has to do with the circumstances under which I spotted him; he allowed me a glimpse at best, which is often my experience with the animals I encounter. In that context then, the painting reflects this reality and reinforces the fact that we don't always find wildlife when and where we expect to.

With luck I'll complete this painting tomorrow. As a final step, I'll adjust tonal values - hopefully without losing the sense that the setting is at dusk.

Cheers

Pete