I am so happy that spring is on its way in! I have moved to an area where birds are always cheeping, there are flowers and trees everywhere! And my living space is always sun soaked. No better time to be a painter!
I am currently looking at venues to exhibit in during the summer 2014 so keep an eye out for updates!!
Commissions are welcome, contact me at firstname.lastname@example.org to inquire
I didn’t realise how lucky I had it, to have thrown myself in at the deep end and learn to paint with oils as quickly as I did. It was a medium I wanted as my friend and I threw it around until I made it work. I was going to shoehorn my work to intertwine with oils and do whatever it took. Luckily the shoe fit.
It wasn’t until I went back to materials I had previously used before I taught myself how to paint properly, that I realised it is not how the material works for you but how you work the material.
Watercolour painting is oil painting flipped on its head. This is my own interpretation. Where oils are malleable, subject to complete change in consistency and shape of the mark you just made, watercolours are not. With oils you could alter that one mark up to 3 or 4 days later. With watercolours you cannot. You have a matter of seconds to decide if the mark you just made was ‘correct’ before the water has dried and the colour is set.
With watercolours, you are surrendering a portion of your work to a beautiful fluid fate-like skittishness. Water cannot be fully controlled, and paints in such a low viscosity consistency will fall subject to breaching. Colours might run further than you planned, but this adds such a fluid and kinetic overtone, giving paintings a lot of life and energy.
Oil paints are purposeful. Every mark is intended, it looks the way it does because the artist made it that way. If the artist wanted to create the effect of fluidity and looseness, this can be done intentionally. Oils are true, to the point, and bold even in the softest ways. This is ultimately my medium of choice and a labour of love to understand. But to have learnt this, I thought I would take on the medium of water-colour and work on a portrait, something I have never done with this medium.
And this is what it looked like… Watercolours are hard work to an oil painter, you have to be on your toes. But the effects are beautiful, and the end result doesn’t look like any work I have done before, for that reason watercolours are a medium I will be working on more often. Even if my true love is oils.
For any information on commissioning oil or watercolour pieces or for the availability and sale of my work, you are welcomed to contact me at email@example.com
I started playing around with palette knives and the textures and marks I can make with them. I intended to use them to sculpt abstract explosions however found myself manipulating and controlling the colours, until I had contoured a rose… Not as free with intention as originally hoped but I loved the outcome!
I can’t seem to keep away from hummingbirds at the moment, it must be something about their colours and textures that although hard to capture, look great when the colours are layered and sewn together.
And a piece I have been working on ‘eye of the tiger’ is looking to be one of my more realistic types of work, where I haven’t played around with the colour palette. I have kept it neutral and although I am far from finished I intend to work on every individual hair and whisker so that this piece is intense to look at, and holds a rich quality that supports the beautiful nature of the tiger.
I find myself looking back at old pieces, and my Marilyn Monroe painting has been a favourite of mine for many reasons, down to why I started it, the layers that have built up and changed to drastically in the time I spent working on it, and the way I used it as a practice board for new techniques and colour play.
This piece is still unfinished however I thought I would upload a post showing the main stages and layers that I have added to the piece so far, from the beginning…
The piece shows a herd of deer in a forest, I started out as neutral as possible, and when building up the layers and detail remained fairly neutral and natural, however when I originally set out to work on this piece I had a lot of abstract colours and movement in mind. I did however like the peaceful tone the painting began to take.
I am however going to add a more abstract palette through the detail and see how it goes, hopefully injecting a bit more life into the final piece.
Here are the four main stages so far…
For any information on sales or commissioning a piece of your own, email me for information or a quote at firstname.lastname@example.org or head to http://www.katyjadedobson.co.ukhere for an explantation on how commissioning works!
Here are a few images of whats been going on lately! In between setting up my new place, working on commissioned work, original work, and as much wildlife work as possible for a new gallery taking on my work; I have had to fit in meetings and general life. Its been hectic.
The Eden pieces are starting to come along well, the detailing has been building and starting to take form with intricate marks thrown in. I have been working just on the Eve piece mainly, establishing the embellishments and look of the pieces, and will start to add detail to the Adam piece to bring them both together. Eden started off blonde, then went brunette, then turned vibrant red. It seemed to suit her so much more!
This hummingbird piece will be available in The Little Red Gallery in the Bailgate in Lincoln very soon! It is currently being framed and I am very excited to see it complete and on the walls.
For commission enquiries you are welcome to contact me at email@example.com or for painting sales.
Recently I have been working further on my wildlife pieces. After the great reaction to my ‘Galloping Horses’ piece I wanted to work more on an atmospheric element whilst integrating factors of the idea of ‘The Golden Ratio’ and detail and space in close proximity.
I recorded my progress, as usual, with this particular stag piece of the 3 sessions I have done so far.
This piece has taken into consideration my recently learned word ‘phosphenes’ (the sensation of a ring of light and colour as a result of pressure on the eyeball) to bring about an abstract colour palette with glints of light as embellished detailing, also depicting beams of light on a forest floor.
It is always useful to look back over the progression process of a piece, it shows how far it has come along, as well as what has been added in terms of atmosphere and general aura, over just likeness and realistic correctness.
As for the subject, stags have been close to my heart since finding my footing as an artist. Stags have such a regal and proud quality, as well as pure elegance. They will always be a subject that will surface throughout my artistic career.
For sales and commission enquiries contact me at firstname.lastname@example.org, as well as for business and professional opportunities.
A word that finally makes sense of the ‘abstract embellishment’ I aim to create in my paintings – ‘Phosphenes’
A sensation of light caused by excitation of the retina by mechanical or electrical means rather than by light, as when the eyeballs are pressed through closed lids.
[French phosphène : Greek phōs, light; see phos- + Greek phainein, to cause to appear, to show; see bhā-1 in Indo-European roots.]
The sensation when you rub your eyes and see colours and lights actually has a name. I remember doing this as a child and seeing a kalaidoscoptic range that didn’t actually exist, there was no presence of light, it is in fact a bit of a phenomena.
On learning this word it made sense of my colourful detailing that I throw into my paintings, which before was described as abstraction. I felt there was more of an elegant and rich description for the marks I aim to make in my work . It was less about creating abstraction and more about ‘embellishing;’ a word I use a lot when describing my work.
I love this word… My work is symptomatic of lights and colours that don’t exist in actuality of a realistic scene, only in this phenomena, we all know they do, even without the presence of reason. In a way it reminds me of the colour spectrum you see in bubbles. A bubble is just a thin vail of water only there is so much more in it when light shines on it.
This solidifies that my work holds a kind of otherworldly truth, not just throwing pretty colours around. (Or so I will continue telling myself as I continue to throw pretty colours around.)
My interpretation of phosphenes will be most exaggerated and amplified in my latest Adam and Eve pieces of the Garden of Eden.
For my birthday I once received a box of chocolates; They were Thornton’s Eden Collection and were one of the most decadent concepts I had ever known.
The label read ‘Divinely Sinful’ with a golden fig leaf and the packaging was more than enticing. The chocolates inside read names like Passion, Seduction, Desire, Lust, Original Sin, Temptation and Obsession.
I knew at some point, when I had become enough of a seasoned artist, that I would be able to portray a Garden of Eden concept painting with justice. I decided to finally take this project on the other day in order to decorate my new bedroom with a piece just for myself (something I have never done before) as a personal colossal challenge. I do not meet challenges on a small scale.
The piece is made of two canvases, both 40×50″ inches, each holding the figure of Adam and Eve individually.
I took on this project not because I regard myself as a seasoned enough artist to now start it, but because I am learning new things about painting constantly, when will I know when I am ‘good’ enough? My recent Iconic Women series has brought about ways of embellishing detail and abstraction which I intend to apply to this piece, as well as my judgement with the colour palette. Using my memory of the chocolates and the decadently engaging words and concepts behind Eden, I will work from judgement and see how it goes!
A lot of things you overlook and make do, until you then have it and you realise the importance. I realised that the space to be able to step back and look at your paintings/artwork from a slight distance is of colossal importance to the work.
Moving is hard! I wanted to keep my art materials out until the very last minute so that I could alternate between packing and working.. But it never works this way. In the end I had to pack my things up and reside myself to time to adjust. I think I must have developed a nervous twitch, or painting withdrawal symptoms. There are countless benefits to the new area I can work in, but the most bountiful points are the light and the space to step back.
Composition and arrangement within my paintings has been something of an ongoing thought recently, following a painting that just did not sit quite right with me. I love to mix intricate detailing with large brush strokes, texture and expanses of blended calm. But how can you know how well this works if you don’t think to look from a distance? I work so hard on my paintings that I am pressed to close against them constantly, correcting areas and forever looking closer. It did not, however, occur to me until I was finally given the space to step back that this is this is the real way to look at work. The way everyone else will see it.
Of course up close detail is important, it gives more depth for people to feast on when looking closer. But composition and arrangement is one of those factors that I realise now cannot be ignored or played by ear. Fascinatingly, whilst these thoughts were prominent to me recently, an article on the Golden Ratio was brought to my attention. Another way to consider composition (a post about the Golden Ratio coming soon…) and something that has been at the for-front of my mind when starting new pieces from then on, by a kind of secular and divine hand of intervention.
It seems the further you get into learning a skill, the more points to consider open up to you. I personally love a challenge.