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the art of having fun........

29/9/2013

......or the fun of having art!

Come closer - that's right, I want to tell you a secret. I'll whisper so it's just between you and me.....do you know that it's OK just to have some fun while painting? I know it's difficult to take on board especially if you were brought up in more austere times or if you only have a limited amount of time when you can paint...you don't want to 'waste' one precious second do you? But wait you don't have to do a 'proper' painting every time you sit down - you are allowed to have fun just messing around with your paints. It won't do you any harm and you may be surprised what comes out.
Now I love painting but to be really inspired I need a challenge - this might be a particular scene or effect I want to try and capture - then I can get real enjoyment from trying even if the end result doesn't work. But you can't feel like that all the time. This Saturday for example when I had a couple of hours to spare, where better than to spend it in my studio. So I taped up a pack of sample papers from St Cuthbert's Mill and decided to have a bit of fun. The samples are 8" x 6" and there are ten in the pack of various weights, makes and tints. One was definitely not heavy enough for what I had in mind, but that was good as the remaining nine fitted onto my board very nicely thank you.

Here it is all set up and ready to go. I have prepared my five colours for the exercise - ultramarine blue, winsor red, winsor yellow, antwerp blue and brown madder. We'd been for a walk that morning and I noticed that the leaves were starting to turn autumnal so this would be my theme. I'm left handed so worked from the right hand column from top to bottom before moving onto the next column and so on. I sprayed a lot of water onto all the paper before dropping in the paints in sequence. So yellow first - lots of it because this would be the base to make my brown and oranges and also my greens. Red next, then ultramarine, followed by antwerp blue and finally a combination of ultramarine and brown madder. I left them to mix and do their their own thing.........

This is what I was left with. A bit of a mess you may think and I'll have to agree with you. But if you look really closely there are some interesting things going on - a lot of potential here. So once again I started in the top right hand corner and worked my way through each column letting the washes guide my painting by looking for shapes and effects I could use....a branch here, a tree there....is that a reflection over there...that kind of thing.

So this was the result of my two hours fun. What was the point you may ask? Well the point is that there was no point but it did reaffirm my belief that Saunders Waterford 140lb CP is the paper for me. Here they are then individually. Hope you enjoy them - I did ...it was fun!

A full range of cards and prints of paintings by Glenn Marshall are available to purchase.

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evenin' constable....

26/9/2013

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"Haywain Unplugged" Original watercolour by Glenn Marshall

There are certain painting that have become iconic. You do not need me to list them as they will be in your mind by now. This is certainly one of them. Well not actually this I hasten to add...not my painting of course but the original - "The Haywain" by John Constable RA. However even the most loyal follower among you will have to concede that my painting has something missing..... well yes the haywain...it's not there. Has it not yet arrived you may wonder, or has it already passed? Neither. I painted this as part of my 'Inspiration' series. You all know that the original was painted in oils and I use watercolours- so it was a bit of a challenge to try and recreate the scene. I decided that trying to paint in the haywain might be a bridge or really a cart too far, so left it out and concentrated on the landscape. I was pleased with the result even though I say it myself. I called it "Haywain Unplugged" and because the original is so iconic everybody knew what I was on about (well that and MTV!). That would have been the end of the matter had I not heard a very intriguing tale. Apparently Constable added the haywain after he had done his original painting. Now whether he had it in mind all along or whether he decided the painting needed 'something' to finish off I don't know. What is known is that Constable, who was busy in his London studio, had to get to his cousin to supply him with drawings of the cart so he could transpose it onto his canvas. Maybe, just maybe Constable's most famous painting was as incomplete as mine at some stage! Go back and have another look at my painting...it's not bad is it?
But now look at the original.....

.......need I say more? Brilliant no matter how many times you see it. But I did enjoy my humble effort and learned a lot from it.

A full range of cards and prints of 'Haywain Unplugged' and other images by Glenn Marshall is available to purchase.

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the one that got away...!

15/9/2013

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"Twilight Stroll" Original watercolour by Glenn Marshall

See if you can work out what I'm on about. Just about every city has one. Most towns have one. A lot of small villages have one. Any ideas yet? Municipal galleries definitely have one and yes even the Royal Academy joins in too. Yes you've got it - the ubiquitous 'Open Exhibition'.
When I first started painting I was very enthusiastic about submitting for every show and happily I was accepted for most. This was and is a great way to get your name out there. For those who don't know the procedure here's a quick guide to what goes on. You are invited to submit a certain number of paintings for which you pay a small entry fee. Then a panel of judges decide which paintings will be exhibited at the show. If you are selected there is the kudos from having your work displayed in a well known gallery plus the chance to sell your work throughout the period of the exhibition. If not selected you lose your entry fee and have to wait another year. Now when you get your acceptance notice invariably enclosed is an official invite to 'The Preview Evening'. A singular honour and privilege indeed where you can mix with the great and the good to see the exhibition without the encumbrance of the general public.
I still remember my first time. The East Coast Open is a biannual exhibition held at Scarborough Art Gallery. In 2000 I had entered more in hope than expectation but to my immense joy all three paintings were accepted so this meant we were eligible to attend the preview which the invite made plain was strictly by invitation only. It sounded very grand and I felt very proud to be part of it - in fact I felt like a 'proper' artist whose work had been accepted by the establishment.
The preview was scheduled for 7.00 to 8.30 p.m. on a Friday night. I can't remember the date but it was wintertime. What to wear? Well it sounded very grand so we opted for formal dress. I wore my best suit with a new tie. Merice is a woman so of course she had to have a new outfit! We lived in York which is about fifty miles from Scarborough so we set off in good time so we wouldn't be late. We were a bit early but didn't want to be first in. This meant quite a long wait in a cold car until a sufficient number of people had gone in before us. Once inside I was disappointed that no-one even bothered to check our invites. There was a table with glasses of red or white wine and a few 'nibbles'. We picked up our glass and followed the crowd upstairs to the first floor which had been allocated for the exhibition. I made a beeline to find my paintings. They had been hung one above the other in a corner on an alcove. They didn't look too bad. I stood back hoping they would attract excited comments from the onlookers. But no. In fact it seemed that most of the people there were like me - only really interested in their own paintings! Everyone was talking in very muted voices apart from one small group. They turned out to be the judges and their entourage. Included among them was a real life ' proper' artist. He was dressed in a white linen jacket and seemed to be drinking plenty of the red stuff and enjoying himself surrounded by his earnest band of followers. He was also wearing a brightly coloured scarf and as I looked round the room I noticed that this was indeed the badge of an artist. No matter what else they happened to be wearing, male and female - they were adorned in a brightly coloured scarf! It had been an occasion that left us both feeling strangely flat but we learned the lessons - never go to a preview overdressed. Wear whatever you want, even be outrageous but always, always even if there's a heatwave - wear a scarf!
I carried on entering all the competitions for a while but stopped after a couple of years. My only reason is that I want total control over where and how my paintings are hung. Even now I am very careful where I show my original paintings. But that doesn't mean I stopped attending previews. It's great fun and a chance to meet up with fellow artists every now and then.

Outside the Royal Academy - note the white linen jacket.... and what's that round my neck?

The best preview I have ever been to? Easy - the family and friends preview of the David Hockney exhibition "The Bigger Picture" at the Royal Academy in 2012. It was a real privilege to be invited by the great man himself. There was a gang of us including several members of the Hockney family staying at the same hotel. No taxis for us - we took a London bus to the RA and what a night. Champagne, gourmet food, good company and above all - great art! As none of us were driving we indulged in a glass or two of bubbly and of course had to have a 'nightcap' when we got back to the hotel. Most of our party were deaf to some degree or another so I have to admit we may have been a bit loud - apologies to our fellow guests especially the ones who had to get up early next morning.

Finally to "Twilight Stroll" above. This had been rejected for the 2006 East Coast Open. Now I don't care how long you have been painting, how good or well known you are - rejection hurts. This one was sitting forlornly in my studio in the back of old Gallery Forty Nine, still enveloped in bubble wrap. I was feeling fed up, nobody appreciated me and my paintings were no good. A man came into the gallery and after a good look round wandered into my room. We had a little chat and then he noticed the painting leaning against the wall. You could just make out a few details through its shroud and he asked if he could have a look. I took off the wrapping and guess what....he loved it. "How much?" he asked. Up to then the most I had ever received for a painting was £350. This one still had it's East Coast Open sticker on with my name title and price - £600. I showed this to him and offered him a deal...£500. He happily accepted and paid up on the spot. So back in the wrapping and off to Filey and a lovely new home. As for me...well being an artist is like that - one minute down in the dumps - the next on top of the world! If those lovely judges had not rejected my entry I wouldn't have made the sale at a new high price. Just proves my point - the best judges are the ones who part with their hard earned cash!

A range of cards and prints of "Twilight Stroll" and other paintings by Glenn Marshall are available to purchase.

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Get Inspired...

12/9/2013

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...with a little help from my friends

"Rays of Hope" Original watercolour by Glenn Marshall

Where do you get your inspiration from? I ask this because I met up with an ex student of mine yesterday. At our first meeting he was a complete beginner who had been encouraged to paint by his family now he had retired. He attended the "Welcome to Watercolour" and then the "Making Progress with Watercolours" courses with me. Both the courses ran(run!) for six weeks and he did.......make progress! But when I asked him if he was still painting he replied that he couldn't find any 'inspiration' to paint. This was sad because he had enjoyed it so much and had the potential to become a good painter. I have noticed that this happens quite a lot with people who produce good work on a course but once it's over, can't find the inspiration or the motivation to keep going. He asked me how I got my inspiration and I told him about just getting out there and 'looking' with a sketchbook in your hand or even a camera. What I said is true of course but when I got home I began to think about the subject in a bit more depth.
My Collins English Dictionary tells me that one of the definitions of inspiration is: "stimulation or arousal of the mind, feelings, etc., to special activity or creativity." Our modern English word has its roots from the Latin spirare literally to breathe. Now what happens if stop breathing? You die of course. So what happens if you stop being inspired? Yes you're right - you die as a painter. So that's how important inspiration is. So then how and where does inspiration come from? What inspires you?
I put this question to some artist friends of mine and here is a sample of their responses:
"What Inspires me is walking through a forest watching the light dance through the trees. Or on the beach with the sun making the water sparkle like diamonds glistening. feeling the wind blow in my hair... I love light texture and water it nearly always evokes some kind of creativity in me... " Merice Ewart Marshall
"Driving to work every day in North Pembrokeshire. Looking at the different colours and views that seem to change daily depending on the weather and time of year. the light here is fantastic, and there are so many local artists that paint the local scenes but all have their own style. I visit their galleries and web sites for inspiration, and it never fails. Doesn't matter that I not to their standard, I just enjoy painting and doing my best to express my feelings through to the subject." Jayne Hughes
"The colour and sound of the sea, sunset over the Yorkshire Dales, the sound of Spanish Guitar in a Barcelona Garden, the shapes and shades of clouds, the colours of Spring on the Wolds, the inspiration is endless." Sue Spivey
"How I feel when I see the colours in the waves and sky, the smells and sounds, its all my senses that make me paint something or someone, Or sometimes I have seen something then cant get it out of my mind until its down on paper. Inspired by my emotions or memories." Jocelyn Roberts
"Animals . My cows to me are beautiful their eyes long eyelashes wet noses! Their innocence and cheekiness too which I hope I capture when drawing them. The same with all animals its their innocence and beauty in their eyes!" Cyndi Cyn Bowman
"Pride!!" Stephen Hayes
I think you'll agree that there is some very sound advice there. Clearly inspiration is a personal thing but there are some themes - use all your senses not just your eyes, visit familiar places regularly and note the different effects as the seasons change. Jane made a good point about visiting galleries and websites of other artists. Don't be put off if you are not as good as them- just enjoy painting.
What about me? I can relate to all the comments above. In the case of "Rays of Hope", I had been dog walking with Merice in a wood adjacent to the Gypsy Race (why it's called that no-one seems to know- answers on a postcard please!) in late December 2011. I always carry my sketchbook so made a very quick drawing when we happened upon this lovely scene which I just had to paint. So with sketch, memory and Merice's photograph for some detail, this was my first painting of 2012. The start of a new year is always a reason for hope hence the title.
This has been the easiest blog I have ever written - most of the work has been done by my good friends. So thanks to you all for your help and I'll let another artist friend sum the subject up for us:
"The phrase: "Aspire to inspire before you expire"." Romy Serrano

Cards and prints of "Rays of Hope" and other paintings by Glenn Marshall are available to purchase.

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A tale of two trees.....

8/9/2013

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....or how I became known as Treeman

"Forest Lessened - Fallen Tree" Original watercolour by Glenn Marshall

You may have noticed by now that I like trees. Yes I do.....I admit it. I'm not a tree 'hugger' though - it's just that I respect they are alive and have been around a lot longer than us. I always feel at home in forests and I think our earliest ancestors must have sought out wood and forests to live in. They would have been provided with shelter, wood to build homes as well as their fires and a plentiful supply of food to eat - a neolithic 'des-res'. When I first began to paint I found woods a very useful place for inspiration. They gave me shadows, inexhaustible shapes to build interesting compositions and a plentiful supply of what I needed most as an artist.....light. So I produced so many tree paintings that I became known as the Treeman. Believe me this is definitely not the worst I have been called! To be honest I like it and feel flattered that so many people recognise me just by that name, so 'Treeman' I am. I paint all kinds of subjects now of course but whenever I get low on inspiration where do I go? Yup...back to the trees...it never fails me.
As for the painting above- I passed this fallen giant almost daily for a period of months as part of my riverside walk when I lived in York. I knew I would paint it, but didn't know how or when. I had to be patient but finally felt the time had come. By now it was bleached almost white and made a skeletal contrast with the exuberant life all around it. So that was the starting point. I carefully used masking fluid to protect the tree shape. This meant I could be as free as I wanted with the painting because the bleached tree was safe under the mask. I made sure that the darkest colours surrounded the fallen tree to exaggerate the the stark whiteness of the skeleton. I was very pleased with the result and even now I think it stands the test of time.

"Old Man of Otley" Original watercolour by Glenn Marshall

I fell in love with this old giant at first sight. I only had one shot at him though as he is situated in Otley Chevin which is a famous beauty spot in the West Riding of Yorkshire. Although showing signs of his great age I felt he had enough energy left to rise to his full height and show these surrounding upstarts he was still "King of the Forest". Fanciful I know and probably related to my own situation. I painted him in a similiar style to 'Forest Lessened'. They were framed the same and hung together in Gallery Forty Nine shortly after it first opened. I was very pleased indeed when they sold as a pair as I felt they were a perfect complement.
Incidentally do you know what was the first ever piece to be sold in Gallery Nine. Used as part of the pre opening publicity this was the first image sold. Who produced it? Not me but my wife Merice and I think it's still one of her best! Check out her website.

A full range of cards and prints of these and other paintings by Glenn Marshall are available to purchase.

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winter is coming....

3/9/2013

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......already?

"Winter Path to Dane's Dyke" - original watercolour by Glenn Marshall

What do you mean - winter's coming - it's only the beginning of September! Well I know it is but the early signs are there. The swallows are starting to congregate and chatter among themselves about their long flight to warmer climes in Africa. As this is the first time that many of them have ever made this incredible journey they probably have a lot to chatter about! The leaves are beginning to acquire their autumn tints and the nights are noticeably drawing in. More worryingly a lot of my artist friends are preparing their paintings to be featured on this years Christmas cards - a sure sign. So I suppose I'd better start thinking about my winter painting for this year. I've done a 'few' over the years! - the one above was for 2012 and it was interesting how the heavy snow transformed this familiar path. So how do you paint a snow scene? Snow's white - right? Yes.....but if you look at the painting you will notice that there is actually very little 'white' in it. The snow reflects the ambient colours - I used good old french ultramarine to give the blue tinge. This was a very crisp winter day so the shapes and shadow contrasts are very strong. The little bit of colour (raw sienna) adds just a degree of warmth...important in a Christmas card. Here's a few details of the painting illustrating the use of different tones of blue to create depth and space:

I fancy a 'softer' look this year so it will be interesting to compare with this one.......now all I have to do is find my subject!.

Greeting Cards of "Winter Path to Dane's Dyke" available to purchase.

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the art of having fun........

evenin' constable....

the one that got away...!

Get Inspired...

...with a little help from my friends

A tale of two trees.....

winter is coming....

......already?

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