The Picture Mill

This cement factory, grey and deathlike during the day, makes a grand display of lights and girders in the evening. This sketch is in charcoal, a medium I enjoy for the subtractive approach I can take with it; much more like oils than watercolors which require carefully building (additive) of values and colors. With charcoal, layers of dark are built up for the explicite purpose of breaking them down and pulling the lighter values out from underneath.

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Another Christmas come and gone. All went well, and I made excellent use of the time. I got with friends I don’t get to see too often anymore, spent time with the family, got to be a little naughty, got to be a little nice. In short, I “made quite merry” as Bob Cratchet put it. The free time has made me a little lackadaisical, but hey, I haven’t even finished playing with all my new toys yet.

I did almost no art over the break, so getting back in today felt very stiff. Amazing how quickly an ability (if I may be so bold to even call it that) contracts without exercise. Today’s sketch felt more like a refresher than anything else.

I did, however, get to take a long hard look at where these daily works are heading and what potential, if any, they may hold. Although I didn’t draw any conclusions, I was able to see the body of work with a refreshed eye. I feel different about them (better) than I did before, so there was some inadvertent progress made.

These two are pen-and-ink sketches and are almost actual size. I was a little disappointed in yesterday’s post. The digital image seemed to lose most of what makes the actual piece pleasing. So tonight I’m posting something that should resemble the original more closely. The tower image is next to a railroad that runs one block behind me. The sign image is a view towards the same track further down at a road crossing.

It’s time to begin the social activities of the season, so this will be my last post for a week. Thanks to everyone that has been stopping by regularly. I hope you all have a great holiday, and I will see you on the other side!

I decided to do something a little different for painting the Musical Express sketch from Saturday. The first recognizable difference is the composition. I felt the sketch was too horizontal, so I began to crop it in from the right. I finally settled on a detail from the original image.

Instead of doing a watercolor, I did a watercolor silkscreen. I have not done one in a while, but I think the results worked well. Watercolor silkscreen is another method that allows me to stay focused on the abstract qualities without getting distracted with the subject.

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Typically I don’t like doing full frontal architectural paintings. Duplicating the image of a building’s facade seems to take too much of the work out, as if it’s a matter of simply duplicating what the architect has already designed. But it is a format that is generally popular because it works when executed well.

The Musical Express occupies a strip mall minimalist in it’s architecture, but the interest lies in the overwhelming display of adverts and posters that seem to fill every available space, often overlapping to get everything in. At night when the shop is closed and the overhead flourescents light up it is a marvelous, if unintentional, display.

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I’ve been enjoying sketching over painting lately, so I am posting another drawing for today. To me, the Christmas tree lot is perhaps the most exciting institution of the holiday season. Sure, I love the lights, music, the wreaths, and so on. But I know the season has arrived when the mountain farmers come to town and set up their trailers and their harvest in neat rows illuminated by strung lights along makeshift wooden poles. Once the trailer is gone and the lot is empty save for the piled unsold trees, the spirit seems to go with them, even with Christmas day still ahead. This lot is on the front lawn of the church that runs it, and profits go to charity (although I’m not sure which), so we like to buy our tree from them annually.

I will paint this one later this week, but it still needs some tweaking in the value and shape balance. Not sure why I planted the large background tree squared behind the foreground tree like that. I do like the church standing like a mountain in the back watching over the artificial forest and trailer. This one will be a bit of a challenge.

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The Food Mart sits at the end of an old brick strip of working man shops. Like Chicken King, the structure sits on a hill giving it a fun trapezoid look. It’s also notable for being a hangout for ambient characters along the right side wall where the wooden fence is. Despite the negative connotations of places like this, it does create a sense of community. I doubt it will be there next year.

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