Doodles in the margin from an artist living and working in the Scottish Borders.

Thursday, 18 November 2010

Dragged Back From the Edge

From 'The Draught Excluder of Unpredictability Impending Over the Oven Glove of Strategy' to a landscape with spruce trees and a farm.

Laura said that this would end up being posted one of two ways; either finished, or with a big hole punched in the middle. (That's happened before.) I learned that posting the incompetent starting point in public - or as public as my blog gets - is strong incentive to get work done.

I used a box of cheapo oil paints we had lying in a drawer (because they were small, and I didn't want to drag my big wooden box of paints downstairs as I was working on the living room table next to the fire because it was bloody cold, and I sat in a posture that helped ping my back, a process completed by moving a new bed up the stairs, so I'm on a paracetamol cloud this morning, but anyway -) so the colours are a bit garish, perhaps, but I like the condensed-perspective snapshot effect. It's given me the impetus to try some more, but with the Windsor and Newton paints.

They're water-based oils and I know there's some sniffiness about them (always the bloody kit: whether it's cycling, photography or oil paints, there's some bugger there to cast a sceptical eye over what you use) but after using real oils for three days and leaving highly visible traces of my passage around the house in bright green, I remember one reason I changed to water-based oils in the first place.

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