Sketches from Andre

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Re: Sketches from Andre

Postby Andre Jute » Thu May 11, 2017 1:00 am

Image

Today I rode out into the countryside to a Tree of Life to photograph it before the buds grew into too many leaves, too thick to see the branches giving it shape. I’ll put the photographs aside to use as inspiration for a painting I’ll make in the winter. Oils, about 16x12in I think.

You may ask why I don’t paint it on the spot. Simple. That field, on which the grass and small flowers look so smooth, is in fact incredibly rough under the grass, so there’s nowhere level to put up an easel, and that is if you don’t first turn or break an ankle just walking the half-mile or so up the length of the field. But that isn’t the worst. The tree stands on the edge of a valley, and the wind howls over that field; it’s uncomfortable and cold, and I'm not Matthew (!). And it is most definitely not an alla prima painting, so a studio job it is.

So many amazing vistas in Ireland, so little time to paint them.
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Re: Sketches from Andre

Postby Alitogata » Thu May 11, 2017 1:40 pm

It looks great and very interesting to paint. :)
I'm looking forward to see the painting.
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Re: Sketches from Andre

Postby Andre Jute » Thu May 11, 2017 7:56 pm

The tree is here for everyone who wants to paint it.

Just a recap of the rules of the game Marialena invented: Anyone can just paint it; no permission is required. Any medium, any ground, any size. The game doesn't care about urban sketchers' shibboleths, so style is free too; your art needn't be representational; you can leave out whatever you like, or insert flying clocks for all I care (Salvador Dali did). In your own time; there's no closing date. Publish your version in this thread (and in your own as well, if you wish). Your art belongs to you, of course, regardless of whose photograph is the inspiration for it. It's not a competition: there's no prize and no selection committee; everyone's art has equal value.

Do try it. Have fun.
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Re: Sketches from Andre

Postby Andre Jute » Sat Jun 10, 2017 10:25 am

On Bone Folders and a Source for a Suitable Size for Sketchers

A while ago Marialena Sarris told me about the Vintage Paper Co, who sells otherwise unobtainable paper NOS, like their name says, and other useful goodies. I bought something (can't remember what, and it wasn't worth mentioning here because I bought the whole remaining stock), so now I'm on their mailing list, which they post to so rarely that it's always worth paying attention. Here's an inexpensive small-book bone folder, an item difficult to find in any size and especially the more useful small-book sizes, that may be of interest to those of you who bind your own sketchbooks. As always, check the postage before you buy from a foreign vendor.

This is what it looks like in Vintage Paper's photo:

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Here's the URL if you're interested:

https://vintagepaper.co/collections/boo ... el-4-105mm

And for scale, from my article on the easy way to build an impressive DIY sketchbook, here is my own general purpose (sniff, sniff, that's what we say when we could find only one size and shape for sale) bone folder lying on a 13" tall slip cover next to a huge breadknife I use for ripping imperial sheet into folios before creasing them with the bone folder for insertion into signatures.

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It works well enough with 300gsm cotton sheets, but could be a bit bigger for that, and for thinner sheets could be a bit more delicate. What I'm saying is that several sizes and shapes of bone folder are handy to have. If you're making sextodecimo sketchbooks (say A5, about 8x6in, strictly 7.5x5.5in which is a 16th of an 22x30in imperial sheet) and smaller, with appropriate paper, I think you probably want a bone folder roundabout the 4" mark, like the one Vintage Paper is selling.
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Re: Sketches from Andre

Postby Alitogata » Sun Jun 11, 2017 2:30 am

You couldn't resist the temptation eh?? :lol: :lol: :lol: :lol:
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Re: Sketches from Andre

Postby Andre Jute » Sun Jun 11, 2017 12:11 pm

That was a good tip. And Zecchi in Florence.
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Re: Sketches from Andre

Postby Alitogata » Sun Jun 11, 2017 6:15 pm

Andre Jute wrote:That was a good tip. And Zecchi in Florence.


:shock: :shock: :shock: :shock: Don't speak their name! :lol: :lol: :lol: :lol:
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Re: Sketches from Andre

Postby Andre Jute » Sun Jun 11, 2017 7:31 pm

Alitogata wrote:
Andre Jute wrote:That was a good tip. And Zecchi in Florence.

:shock: :shock: :shock: :shock: Don't speak their name! :lol: :lol: :lol: :lol:


What have they done that's so shocking?
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Re: Sketches from Andre

Postby Alitogata » Sun Jun 11, 2017 10:14 pm

Andre Jute wrote:
Alitogata wrote:
Andre Jute wrote:That was a good tip. And Zecchi in Florence.

:shock: :shock: :shock: :shock: Don't speak their name! :lol: :lol: :lol: :lol:


What have they done that's so shocking?


They tempt me to buy whatever they sell!! :lol: :lol: :lol: :lol:
Same as the Vintage Paper Co. do.
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Re: Sketches from Andre

Postby Alitogata » Sun Jun 11, 2017 10:21 pm

It is a conspiracy in order to drive painters and sketchers towards bankruptcy ha ha ha ha haaaaaaa

I have do show some character as Teoh ( parka ) did, who went to Tokyo and visited two art materials stores from which the one had six floors and the other another five but Teoh left these stores without buying nothing more than two brushes.
I told him that he is going to become a saint, because if I was in his place I would, for sure,needed at least a track to hold my shopping afterwards. In the worst case a ship container.. :lol: :lol: :lol: :lol:
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Re: Sketches from Andre

Postby Andre Jute » Mon Jun 12, 2017 4:17 pm

Congratulations to both of you.
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Re: Sketches from Andre

Postby Andre Jute » Tue Oct 10, 2017 11:31 pm

A year or three ago John Saxon, a chum from the Thorn cycling forum, published a photo of the backyard of his friends from just over the mountain where I was born, the mountain separating the two towns strikingly prominent in his photo. I promised to paint the scene but, when eventually I finished the painting, it was wretched, not fit for consumption by man or beast. If you think I'm joking, even my cat sneered at it. I've earned my living in the arts for too long to be sensitive to the vagaries of critics and, having been a critic myself, am only too familiar with the constant struggle to keep criticism pure from contamination by external considerations. But my cat keeps my knees warm in the winter, which no critic has yet offered to do, so I pay close attention to her opinion. Between my cat and I we buried that painting.

All the same, not wanting to offer John an explanation that starts, "My cat and I..." in the tones of Her Majesty's Yule tidings from herself and her Corgis, I was glad when he published another inspiring photograph, albeit from another hemisphere and a different continent.

John's first photo and my discarded painting are of the Karroo at Prince Albert in South Africa, the Karroo being a semi-desert area though John's friends live in a charming green spot on a river. John's second photograph is of the Bay of Quinte in Ontario, Canada, an entirely different milieu. Not that either painting is representational, because I can't be bothered with those when a superior camera fits in your shirt pocket and adds only a few grammes to your cycling paraphernalia.

As you can see, it's the inspiration that counts, with the two images serendipitously influencing the final outcome.

Image
Andre Jute: Early morning mist over Bay of Quinte, watercolour and gouache on grey Ingres paper, A4, 2017

A few technical notes:

The paper is Fabriano's Tiziano, which has a substantial cotton content but is all the same intended for pastel work. I don't work in pastels often but I like this 160gsm paper for binding sketchbooks because you get in quite a few pages without making the book too clumsily thick and heavy, and it lends itself to watercolor work by flattening well after moderate buckling. Water media in some form or another accounts for possibly three-quarters of what I do in my custom sketchbooks so paper which buckles permanently under water is papyrus non grata.

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Though I generally don't do a pencil sketch before I start work with the brush, in this instance the division of the area into large blocks was so critical to the outcome that I made a rough pencil division. The 5.6mm clutch pencil I used belongs to a small pen and pencil kit carried with A6 (say 6x4in) sketchbooks; it is a Koh-i-Noor 5311, a recreation of a vintage clutch pencil. It's a favorite of mine though my brush cases each includes a perfectly good 2mm clutch pencil.

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The palette chosen consisted of the watercolors Cerulean Blue PB35, Ultramarine Finest PB29, Perylene Green PBk31, Dioxazine Violet PV23, the latter two for the mixes to a greenish near-black since I don't normally have a "real" black in most of my go-to paint boxes, plus the gouache Permanent White PW6, all from Winsor & Newton except the Ultramarine which is from Schmincke. You can see the sort of palette that I choose from in the photo of the box of paints after I'd already taken out the gouache white, as that one was obvious.

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Here the gouache white lies on the brush case for this size of watercolor with the first obvious brush already taken out of the elastic. Generally speaking, I usually manage to complete any A4/Imperial Octavo (11x7.5in) painting or smaller with one to infrequently as many as five brushes selected only from this case.

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The brushes selected consisted of a cheap supermarket synthetic for mixing paints and scrubbing on the surface if required (not required, in this instance done by local blotting with a folded sheet of kitchen roll, included on far right of photo, and overpainting by gouache, but you never know when you need a scrubber), a 5/8" Handover Kolinsky Sable Oval Wash brush with a keen edge with which I did the main work, including some dry brushing that may appear to have been done by the specialty brushes mentioned next, a Red Sable Fan branded by Jackson's, my London art materials pushers, and for painting the grasses and leaves a Taklon Filbert Comb from Royal's Soft Grip line, from which line of several series I have quite a few brushes in various sizes and shapes.
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Re: Sketches from Andre

Postby mdmattin » Sun Oct 22, 2017 3:30 am

Nice painting, Andre! Definitely captures the feeling of morning mist, and is well composed and rendered. Thanks for the detailed technical notes - I'll have to try Perylene Green PBk31. Interesting that it's called Green but coded as a black - looking around on Handprint, etc I see that it is sometimes called Perylene Black, although it looks pretty green in the pictures.
Matthew
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Re: Sketches from Andre

Postby Andre Jute » Sun Oct 22, 2017 4:31 am

If you think Perylene Black PBk31 is slightly irregular, here's a genuine weirdo for you:

You know for a fact that Winsor Green is PG7 or PG36, depending on whether it is blue or yellow shade, right?

Not anymore, it ain't. A new tube of Winsor Green Blue Shade arrives here without any fanfare. It is numbered 719 as Winsor & Newton has always numbered it. But it isn't the same paint at all. In fact, the pigment inside the tube isn't even green but officially yellow. (It looks green to me.) There is no, repeat no, PG 7 or PG36 anywhere near this No 719 Winsor Green Blue Shade, nor any other "Green" pigment. As far as I can tell, nobody announced the change. It just happened one fine morning, for reasons unknown. Months later Jackson's in London, the suppliers of my tube (hereinafter "the evidence"), haven't changed their netsite, which still gives the superseded information that Winsor Green Blue Shade is made with PG7.

Winsor Green Blue Shade is now made with PY184, which stands for Pigment Yellow 184. (The contents look green to me.)

EDIT:
I'm going to let that stand as is. HERE IS THE LATEST INFORMATION:

I've now heard from Debbie Bryan of Winsor & Newton UK, who assures me that:

"It is an error on the label artwork. It should of course be PG7. We are addressing this issue, but, please be sure that this is not a counterfeit tube, but, a mistake on the label."

Case closed, no mystery, just a tube with PG7 mislabelled as something else.
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