same old oak, different angle, different posture. progress in stages.

dead colouring stage/local colour. start planning out colours and where they should be. start puting down a flad bed of colour (or trying to) . notice tree - here I've started the 'big form modeling stage' ( creating a '3d effect' put simply...modeling the 3 family tones. remeber - stay in those 3 families - create a unity of tone.
the background - is lightest. as the view receeds, things get brighter - look out on a grey day and notice the tone shifts as well as the saturation of colour. this is vitally important.

I was taught that nature cheats, - and so the human brain has to order the choas of tone and colour in front of you when your painting and process all that info - into creating an illusion on canva.s that is basically painting/drawing! so there are rules you have to abide by in order to 'talk in paint' . the old masters where MASTERS in ordering what they saw in from of them , into masses and lines of tonal colour on the canvas in front of them.

I've also started the sky here. the lightest tones are low. I don't know what I do with skys, but clouds are fun. watch them, and think of them in paint as you drive your car. watch the shapes move and the study you get in tone from a cloud are second to none.



(the Burnt umber white/ campitura colour are all part of the first stage - the drawing in/monochromatic stage were i break down light/darks and start to bring the tonal families into play. start breaking it from 2 tone - dark /light to 3 tone - light , mid , dark. all staying in the monochromatic stage. no colour.




starting to plan the compostion and feel of the piece. asking myself, what do i want it to feel like? were are th cool/ warm areas? were is the darkest darks and the lightest lights going to be? what colours do I want to use? what do i want to use form the photo, what don't I want to use?



I then soften edges were they need to be soft and start breaking down the drawing into light / dark areas. I use bristly brushes and turps to soften the drawing and get nice fuzzy areas.




the beginning of the process. I transfer drawing from drawing with a grid, I grwid up canvas and enlarge the drawing, se everything is in its right place. this is the longwinded and drawn out part. I use burnt umber and turps.

machen Oak ..near the Mad Mile, Lower machen

my old buddy the oak tree near lower machen. He's been hanging out in this field for a long time, asked him if he'd be ok if I painted him ever now and again. He liked his warm brown coat, he was getting tired of his old grey winter coat. He said I could come back again and paint him, so I did. That post will be up as soon as i finish with the art work. oil on linen.

art work from the last few months ...

a still life based on the theme of the Senses.



a Bargue study. Pencil.







still from a commissioned piece 'the beach of 'Llanbedrog near Pwllheli, near Oriel Plas Glyn y Weddw.' Painting, Oil on Canvas. 50 x 70



Detail of 'Llanbedrog near Pwllheli, near Oriel Plas Glyn y Weddw.' Painting, Oil on Canvas. 50 x 70



Still life with Bronze Bucket and Eggs. 40 x 60. Painting, Oil on Canvas.




The Broken Violyn' Still Life' Painting, Oil on Canvas.




A drawing based an David Grey's portraits 'http://www.davidgrayart.com/#goto=figure-archive&viewimage=5 of figures wearing turbans. A truly stunning painter. You can find more of his work on the website previously mentioned.



Commissioned drawing for a friend , who is in involved in a Karate stance.




Another commission drawing based on Kick Boxing. Red Chalk on Grey Paper.

recent drawings and paintings in progress..

Daniel and the Lion's Den. A copy from a painting of Briton Riviere.






A torso studio from George Bargue plate.



A head studio of a Bargue plate.




A horse study from a photo.



As we were walking through a field by the river not far from where I live, we came accroos this perfectly flat field, covered with sheep grazing around this solidatary Oak tree. Those lonely oaks that you can find in this area are really good subject matter full of character and unchanged by time or weakened by adverse weather. Real stand out characters.




pencil study from photo.








A revisited painting by request by Oriel Plas glyn y Weddw. Llanbedrog beach. the huts and the sweeping beach with the backdrop of the Snowdonian hills are a place worth spending long summer days at.

Bruno. Graphite on paper.


Cast painting. 'Carpeaux' .oil on canvas. unfinished.



'Forgiven' A copy of Thomas Blackshear's painting. Graphite on paper.

We are the sinners. We have all lied, cheated, stole, broken the 10 commandments, you may have broken one in the last hour! Thats what'l keep us out of heaven, because God is just, and He is fair, and because He's just and Fair, He has to punish our sins. But thats why Jesus came, to pay the 'Just Judge' by taking our sin on himself. Thats what this picture is about.

are you good enough for heaven? Have a look at this test to find out.

http://www.areyouagoodperson.org/

Jesus died for us, so that we can live forgiven, in a relationship with the God of gods. If we confess our sins, he is faithful to forgive us our sin. it was love for us that nailed him to the cross.

and we can know that love and live with that joy in our hearts if we confess and believe in what Jesus did for us. there's a peace which comes from heaven itself if we know that Prince of Peace in our lives. Jesus.



Oscar. Graphite on paper




A copy of 'The Road to the Cross by Brian Jekel' Graphite on paper.




A copy of 'Samson's youth 1891, a painting by Léon Bonnat.




Sins of the Fathers. A study of, from Kirk Richards painting.

http://www.kirkrichards.com/kr_painting_pgs/sins_of_fathers.htm


value studies from the george bargue plates of drawings from plaster casts :



value studies from the george bargue plates of drawings from plaster casts






Gwen. My niece!



Llanbedrog beach. Near Porthmadog.



value studies from the george bargue plates of drawings from plaster casts




value studies from the george bargue plates of drawings from plaster casts

white rose...part two of a two piece painting for my brother and sister in law's living room wall

hopefully can get a pic of the 1st rose (in yellow which was painted months ago) to compliment this one which was finished yesterday as a commission from my bro and sister in law - hope you like it (they havent seen it yet!) Al, and Lo!

no more birds ! more still life!

Hi, heres a painting for an up coming competition in Cardiff which is deadlined for April, so have been steadily painitng this over the last 3 weeks.

the words in the school uniform underneath the Blue Isreali vase are 'O Bydded i'r Hen Iaith Barhau' which means, 'O, that the old language will endure' that is Welsh.

I've chosen the school uniform to represent welsh medium schools and the on going battle or encouraging and helping children take pride and dignity in the language of this Nation. From working in a welsh medium school, I see the importance of school life and how this influences the attitudes of the children to the language. As they learn and are taught the language they too we hope will understand and know the importance of being proud and happy to speak such a unique and lyrical tongue.

this work is unfinished and small modifications are needed.