After a few years of “soft” landscapes, I became interested in concentrating on smaller landscape subjects, although I still enjoyed the landscapes that I first exhibited. By now my palette had seen stronger colours and textures become the norm. I began leaning towards my hard-edge roots that had dominated my years at Art School.
Top: Still-life, Greens Beach Second: Rockpool, Sisters Beach Third: Mt. Ben Lomond Fourth: Rockpool, Douglas River
Oil pastels will remain “fresh” as long as you keep them apart (side-by-side). I sought subjects that had strong colours, textures and light, although the latter wasn’t that important to me then as it is today.
For some reason I stopped laying oil pastels over each other, preferring single, straight colours. I can see that my “graphic side” was trying to emerge.
For strength of colour one cannot go past heavyweight watercolour paper. Such thick papers are a joy. Oil pastel is very easy to use, in fact it’s a pleasure to work with. A downside is if you apply it too thickly, it tends to flake when dry. This presents problems when it comes to framing. Fortunately my picture framer came up with the solution and designed a frame whose mount(s) sits slightly forward of the drawing. Any pastel that does “fall off” the surface collects out of sight at the bottom of the mount. Well done John!
Tomorrow: My work takes another direction.