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Fine Art Tag
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White on White 100cmx100cm Acrylic and recycled plastic water bottle butterflies on canvas First attempt at sticking the recycled plastic water bottle butterflies to the canvas a failure. At least, neither the canvas or the butterflies were damaged. Worked out a system to keep them in straight lines using a wood strip secured with clamps as a guide. Finding gaps in the mark making butterflies amongst

Terry’s terrine de campagne, cold-smoked salmon, green salad with pine-nuts, sweated peppers, tartiflette, pork rashers and boerie the tapas-style birthday dinner. The Fairview Carignan and Tannât were perfect pairings. The Palatinus, outstanding! Salmon, grapefruit, avo, radish and creme fresh The ‘black’ in my portrait ‘Wild Thing’ a mix of Lefranc Burnt Umber and Windser and Newton French Ultramarine. Searching for the essence, within the facial

The painting of the Cheetah Cubs at that point, where, that touch of magic. If. I’m brave enough. To let it happen. Disaster avoided, as howling winds tossed the shopping bag, containing eggs, as I tried - unsuccessful - to navigate a walk between storm squalls. Wet. Bedraggled. The Forest a jumble of fallen trees. Ancient yellow-wood tree standing tall amongst the carnage. The

‘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