Back at the Milleridge Inn Restaurant on Long Island I am hanging out with the roosters again. Its a quick ride from my house so as long as it’s warm enough to stay in the mobile studio without running the engine to keep it warm, I pop over in between the stuff I am supposed to be doing during the day.
I have been experimenting with composition. I worked for a pretty famous comic book artist many years ago and It got me to thinking about comic book page layouts. I want to bend the rules a bit and journal in a visual manner. Tell the story of what I see without using words. There is always the big image/emotion of what drew you in; the visual that caught your eye and said, “paint me”. But, then as you are painting, you start to notice all these other things that are really cool and you want to include them too. So I have begun to play with framing; using frames to highlight, or call out other interesting things or close up details from the main picture.
Here is another experimentation with framing. I feel like I am on to something, but it still needs some refining. Well, I guess, the next entry will tell. Have you thought about mixing things up a little? I am wondering what you did, and how it worked. Please comment below.
Honestly I am not a fan of painting in NYC weather in February. I don’t think it’s an unusual stance. I think, most people would feel that way. But, I felt like painting and I have a set of windows that when I sit in my living room I can see the whole backyard. I chose to focus in on one panel of glass and caught my garden chairs and the pillar for the corrugated plastic awning . Don’t be fooled by the composition, it was a bit of an exercise in values. Values, values, values. It’s all about the values. They say, ” color gets all of the credit, but values do all of the work.”
In order to get the values right, I followed my own teaching and did a notan sketch first. Mapping out the values in three shades of grey and the white of the paper. It really does help. A lot. Why do I resist so?
Once the greys are in place, it actually frees me up to match colors to values and go wild. No my chairs are not eggplant, they are dark umber and the back trees are pines, certainly not cobalt turquoise.
I did both pieces in a Stillman and Birn Beta book; the color one in an 8″x10″ and the black and white in the smaller 5.5″x 8.5″. The grey is markers by Tombow and the watercolors are mostly Daniel Smith
The Metropolitan Museum of Art in NYC, like most museums is fine with you sketching in most anything as long as no paints is involved. Today I skirted that problem by drawing with water soluble ink in a fountain pen. Below, I have captured the area just inside the entrance to the Robert Lehman Collection, many people call it, ” the new wing”.
It is a fascinating juxtaposition of new and old. The left side is the original brick arched exterior wall of the MET, on the right modern facing of beige granite cover the bare walls and, the two flank a narrow three story glass window.
I used an ink I love called Pecan by Papier Plume . This ink has the special property of changing color when you add water. Moss green appears from the brown ink as water touches the ink but as you add more water the green turns pink. It’s a beautiful and subtle way to get a hint of color without calling attention to it.
It’s my secret weapon to allow me to get color on a piece in the museum. Stealthily I slip out my waterbrush and apply light washes on the piece. If it’s too crowded, I head down to the cafeteria and go to town down there. By the way, The MET’s cafeteria is a great place to be able to have a cup of coffee or a full meal without a table wait and cool your heels for as long as you wish. Below, you can see the photo I took of the location just after I finished sketching it.
By the way the fountain pen I was using was a very cheap pen ( under $5usd) that I ordered off the internet from China. I ordered 3 for about $16usd including shipping and 2 of them are as good as ones I have spend over $40usd on. Clearly an inexpensive low risk adventure.