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Fine Art Tag
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‘Cheetah Cubs‘ Acrylic on canvas 70cmx70cm An unusual mix of Naples Green Yellow, Yellow Ocher, And Raw Sienna for the fur. With a touch of Magenta for the ‘dirty’ spots. A continuous process of rubbing out detail, except for the one eye, giving the composition focus. Now for the larger canvas! Strange to have the Studio open again. The revamped website operational. Responsive. Clean. Functional. With

Small commissioned painting of a zebra and start made on the portrait of ’The Fisherman’. A painting to replace one of my paintings lost in a house fire. The zebra still resembling a cart-horse, with none of the ’lightness’ I'm striving to attain. The rich grey, turning everything to a flat mush. Happier with the proportions of the head. Something, at least! A tad

Beach walk at Sedgefield before a quick stop at the market for blue skies organic salt. Studio busy with holiday tourists and the canvas for the Etosha commission on the easel. An underpainting of two blue-grey mixtures. Ultramarine Blue and Burnt Umber, as well as Cobalt Blue and Burnt Sienna. Dashes of Cerulean Blue adding depth. Fabulous dinner. J9. Chef Coreta. Amuse-bouche of Chev, melon,

Small Cape-sugarbird painting and two new scarf designs based on the Irises and Foxgloves and the abstract seascape from Pringle Bay. Hours grappling with the enforced software changes as Apple eliminate third party software. Buffel’s dune walk, beach and graffiti. Calf muscles a tad unhappy with the soft sand and steps. Not nearly as unhappy as my bum muscles after their first ride back

Studio busy with tourists and a new banner up against the black of the building site next door giving some visibility for the studio.  A small painting of Cape Sugarbird, and two canvases prepared for the Greyton Art Walk next month. I will be painting there for a couple of days and need the canvases dry enough to travel.  Resupply of paint a tad extreme.

'Etosha Study' Oil on canvas 45cmx25cm Greenish, white clay of the ‘Great White Place’. Pale-golden colour of the grasslands against blue skies. The green-grey from Cobalt Blue and burnt Seinna, mixed with Cerulean Blue. The white-grey a mixture of Ultramarine Blue and Burnt Umber. Also the grey mixture I used for the elephant. Chef Hirsch crafted (another) fabulous dinner. Avo, pea, mint with smoked salmon, blue

Decided I wanted to do a companion painting for the Irises and Foxgloves. A square format, so not a traditional diptych. A tad concerned that the square canvas i was able to get is a tad small. Unexpectedly the painting of the nature garden in Montagu that has been in our kitchen for years is off to its new home in Port Elizabeth. From the

'Soli’ acrylic on canvas 50cmx50cm ‘Take a deep breath, and settle yourself down.’ With grateful thanks to Soli and the many hours of companionship on our daily journeys to Worcester when Mum Sterley was ill. The comment on the recipe (Plate) ‘the best osso bucco of my life’, and it certainly didn’t disappoint. We tried to emulate the conditions, with a night of storms and a

'Unicorn 2’ Oil on canvas 1,5mx1,5m A few tweaks, and a couple of significant changes to the composition of the Rhino. I decided to leave the tempestuous background, with its rough texture alone, as a contrast the smoother dust in the foreground. Grateful for the collector who commissioned the painting. Loved the opportunity to work at that scale. I. Remarkably, no blood! Hugh walked my bike out to

Rose stopped past the studio to see the painting of the Oyster Collectors that I painted from her photograph Erica’s in purple and pinks between banks of grey salt-bush alongside the paths through the Forest. Enough rain to turn trails into rivers that extra element of fun. Colours swirling on the canvas for my painting of the Heads. Getting a tad lost in the water