Artist In Residence

Artist in Residence (Manor House). Digital, May 2020

Here’s a quick digital doodle. It’s a beginner’s exercise in Krita, a most excellent digital painting program, and a welcome vehicle to show off and enjoy some wonderful Art Deco or Art Deco-esque typefaces.

This leads to the most wonderful architectural drawings from House Planning by Wooster Bard Field, Architect, A.I.A., Professor of Engineering Drawing, The Ohio State University, McGraw-Book Company Incorporated, New York & London, 1940. These guys have a few page samples from the book, worth a look: http://tehne.com/library/field-w-b-architectural-drawing-new-york-and-london-1922

Otherwise nothing special here, but learned quite a bit about image retouching and general operations in Krita.

Zehn Mark

Zehn Mark (1963-1990), Special Coronavirus edition. Ink on paper, 240 x 100 mm, April 2020

I thought the El-Dinero series was done with, but two is poor number of legs to stand upon as any vertically challenged or drunk person will confirm.

So here is number three, the German Tenner in the 1963-1990 edition, depicting a portrait of a Beardless Young Man by German Renaissance painter Lucas Cranach the Elder, formerly attributed to his contemporary Albrecht Dürer.

Zehn Mark
Ink on paper, 240 x 100 mm
April 2020

Cinquante Francs

The rather beautiful 50 Francs banknote from 1947 has also received a recent update.

Cinquante Francs (1947, 2020)
Ink on paper, 208 x 128 mm

The original banknote shows astronomer and mathematician Urbain Le Verrier, who now embarks on another carrier path.

Ten Quid

Ink on paper, 130 x 70 mm, April 2020

There is nothing like staying at home for real comfort – Jane Austen.

Ink on paper, digital post-processing.
April 2020

Fresh Off The Boat

Fresh Off The Boat (Parallel Universe Series), oil on canvas 800×300 mm, April 2020

Fresh Off The Boat
(Parallel Universe Series)

Oil on canvas, 800×300 mm
April 2020

In fond memory of The Mooring, Rarotonga and with certain liberties with the specifics of Mahi Mahi.

It pleases me that the photo cannot possibly capture this little piece, which reacts with light and your viewing angle in ways that I can’t capture in a still shot.

Esmeralda

Meet Esmeralda.
Oil on canvas, 20×16″
April 2020

She isn’t a masterpiece by any stretch of imagination, but she’s the first oil painting that I manage to bring to completion (by some stretch of imagination) in a very long time. As such, I consider her a huge success and hope that she won’t be a one-day wonder.

Darling Residence

darling-residence

Darling Residence, Kensington Gardens London W2

pencil and marker pen on paper,
November 8, 2019

I love the typical lose sketchy style of garden design drawings. A nice little thing to relax to, I think there might be more of these a-coming.

Paul

Paul

Paul.

Oil on canvas, 760 x 500 mm (30 x 20″), October 2018

There is no reason behind the choice of name except for the fact that Paul seemed a perfectly suitable name for a magic seahorse. 

Islamic Patterns

Here are some of my variations on Islamic geometric patterns taught by Samira Mian.

I find it isn’t a creative but more a reproductive process that requires precision and concentration. As such, it makes for great relaxation. Once I finish the base pattern construction, I enjoy making my own additions by highlighting hidden patterns, removing some outlines to add a swirling motion or by adding a border.

All in watercolour on paper, between 150 x 150 mm and 250 x 250 mm.

April 2018

The Western Hemisphere

The Western Hemisphere

The Western Hemisphere

Oil, turpentine and gravity on canvas, 1000 x 1000 mm

Indigo, Phthalo Turquoise, Indian Yellow, Cadmium Yellow, Alizarin Crimson, Titanium White.

The fourth and last of the large hemisphere paintings. Obviously I was running out of steam with this one although I hope that it will grow on me over time. It certainly has a lot of cosmos to explore!

One World

one world owl

One World Series

Digitally printed lino cutting.

Each is a genuine lino cut, approximately A6 in size. The cut lino is scanned, mirrored, then “lasso” selected in image processing software (I use Gimp). The “lasso” selection preserves the natural randomness without ink-stained fingers. The selection is then filled with a gradient, a canvas texture is applied, cut out and pasted onto a new white canvas of the same size. Voila!

Digital lino prints, and I am well pleased with this invention.

The Eastern Hemisphere

The Eastern Hemisphere

The Eastern Hemisphere

Oil, turpentine and gravity on canvas,
1000 x 1000 mm

Indigo, Alizarian Crimson, Indian Yellow, Cadmium Yellow, Titanium White

This became a lot more violent than envisioned, but somethings life is that way.