Non, je ne regrette rien
happy with undercoat beginning…
This morning I photographed my first layer of a big drawing (380 x 505 mm) after a week of laying on the under-colour in Sennelier oil pastels.
A couple of hours later… Uh oh – I’m not feeling the love.
And…that’s it. No regrets.
A few hours later: In hindsight, every work which is labour intensive needs to be believed in. It is a huge effort but it will be worth it. In this case, I didn’t have quite enough belief (or enthusiasm) in the piece for all the effort I knew I was going to have to put into it. That’s probably the primary reason I let it go.
PS: Another reason for dumping the picture above was that it was too similar to “Rhapsody in Gold” drawn in 2017.
“Rhapsody in Gold”
pastels and pencils
240 x 255 mm. May 2018
Have you ever waited at traffic signals after dark and observed how surrounding colours change depending on whether the signal is red or green? In “Wait” the colours of île de la Cité are also made bright by a boat’s high beam illuminating the arches under Pont d’Arcole. (We can’t see the boat but we know it is there.)
Here is a deep dark “Walk” (partner of “Wait”). Notice how light from the signal casts a different glow on the sky in each of the two drawings.
A much lower key “Walk” than “Wait” as the green walking man gives off lower light than the red standing man.
In recent posts I have been showing the oil pastel under-painting (before coloured pencil is layered on top). In comparing the under-painting stages of these two drawings (drawn several months apart) I see that this primary stage is now richer and more consolidated than it was in mid 2017. It is fascinating to chart the evolution of a new idea.
oil pastel undercoat of “Wait” (May 2018)
oil pastel undercoat of “Walk” (August 2017)
Next time you are sitting in your car waiting for the lights to change, or standing at a pedestrian crossing after dark, observe the colours as the lights go through their paces. (Trust me, it is more entertaining than merely being impatient.)