I made this chap a while back, and he’s been crooning away on the desk ever since waiting for the flashbulbs to go off. His five minutes of fame have arrived, his gigs in the pubs and clubs paid off. May I present my karaoke cuboidroid?
Another in my series of mini-characters is this unsure cuboidroid with a faux brushed steel finish. By combining various paints and varnishes, the dulled patina plays against the satin clean metal. I am amazed at how small an expression is required to anthropomorphise an otherwise inanimate/non-human object.
This little chap/ess is available to purchase – do contact me if you’re interested. Previous characters are here.
Here’s the last of my six castle paintings – the half-finished Beaumaris Castle. That’s the castle, not the painting that’s half finished… And, of course, the last was the trickiest! There is something to be said for having a good artist’s sketchbook, having the time and patience to use it and then apply what has been learnt onto the canvas. I don’t ‘do art’ quite like that…
Previous paintings in the series:
Caernarfon – Raglan – Criccieth – Dolwyddelan – Conwy
With the same immenseness as Caernarfon Castle, Conwy is going to be a good balance in the room. With the suspension bridge, modern meets historical – and was most tricky to paint!
Previous paintings in the series:
Caernarfon Castle – Raglan Castle – Criccieth Castle – Dolwyddelan
When I used to holiday near Porthmadog, I joined Cadw – the Welsh Heritage organisation. I then proceeded to overdose on visiting castles – I think the record was 9 in three days. I don’t really know where the fascination started, but it was certainly early in childhood. The bigger, the better in my book… But, as a subject for a painting, Dolwyddelan Castle is pretty much up there, despite being the smallest castle in the series.
Previous paintings in the series: Caernarfon Castle – Raglan Castle – Criccieth Castle
I love Criccieth Castle – less as a ruin, but more because of it’s place on the hilly promontory above the village. It gives such a stark silhouette, reflected in the bay.
Previous paintings in the series: Caernarfon Castle – Raglan Castle
I’ve been painting again today – after I’d potted on my leeks… This time, I’ve gone for Raglan Castle, in Monmouthshire. You might note, in comparison to my painting of Caernarfon Castle yesterday, that the light is coming from the opposite direction. There is method in this madness – the paintings are to hang opposite each other on either side of the room. Thus, the light, and the shadows, will look as if they are from the same direction.
Ok, ok, it was a happy accident that I noticed the above before I started hanging the paintings. Now I will go back to my reference materials and check that the remaining four of the series are split 50/50 in light direction. It was one of those ‘oh no’ moments that turned into ‘well, of course, I meant to do that’ when no one was looking…
I’m having fun in the Studio, actually playing with paints and canvases for a change. It’s also been a little while since I have had any commissions. This is the first in a series of six canvases, each requested to feature a Welsh castle. The main colour of the room is grey, and the accent colour is purple.
I’ve loved the ‘purple twilight’ type photo treatment, and there’s nothing more striking (I think) than a castle’s silhouette. It gives a much more solid appearance, and given most castle’s prominence on the horizon, a real immenseness.
My first is that of Caernarfon Castle. It took me a couple of tries to get the tonal shades right – my first go didn’t have enough contrast between the grey and black.
I chose to keep this little piece of altered art under wraps until I’d featured it on my DecoArt TV shows on Hochanda early last month. I’d also left the originals with John the floor manager/set designer to use, and had to make a second set with what was left of my prepped demos. Building on the 6½” high paper-mâché letter forms, I’ve used a lot of mixed media tricks to make this home decor piece. Continue reading
There’s not many journals that won’t benefit from an undercoat of gesso. A thin layer helps seal the page, stiffen it and provides an excellent tooth for subsequent layers to stick to. A thicker layer adds texture and depth to the page.
This page is in the journal I’m testing, and started off with a gesso undercoat. Several layers of thinned Dylusions paint forms the weathered varnish, then some metallic gold paint with an image transfer over the top for the brass knocker. The ‘carved’ text is also an image transfer. Shading and ageing achieved with a combination of Pitt Artist Pens and Walnut Stain Distress Ink. Everything sealed with DecoArt Americana Spray Seal (Matte) – which just about fixes the Distress Ink enough to finish with a final sealing coat of DecoArt Media Ultra Matte Varnish.
