Wednesday, July 18, 2012

The Making of Rain, Reflections and The Lady in Red

Rain, Refections and The Lady in red, 8" x 10", Oil on Board. 

This is a little 8" x10" painting I did a while back and posted under the title-The Power of Red-of a wet London scene. Every now and then apart from posting the work I do or work that I am currently working on. I also like to share the stages I go through to produce some of these paintings. This particular painting was painted entirely from a photograph, all in one sitting, to keep the paint fresh and not overworked, just as if I was painting outdoors.  It's not a step by step demonstration, I really don't believe paintings can be absorbed through a step by step procedure. These are just pictures I took at different stages of the painting while in progress.

Stage 1- I have done a precise grid of the painting surface. I used the Accurasee  software to do this. The grid lines are done in coloured pencil, then fixed. After which I have sketched in a blue and purple ball point pen-just for some variety. Already, I have started with some of the greens of the trees, I have decided to paint in a shape by shape method here. which is more of an "Inside -out Technique"

Stage 2-  Using this same method of painting shape by shape,  I slowly creep out of the tree area into other places. Always keeping in mind the power of edges.  if something is behind, then it should be painted first. Unless some sort of effect is desired to keep the edges fresh.                                                                                                                                         

Stage 3- The most interesting part, the wet reflected pavement,  is painted in a shape by shape method too. I always try my best to match each colour and shape as seen from the reference. But also every now and then I add what I think it looks like when it actually rains-that's the part the reference can not inform-it must be experienced and the emotions brought back to the studio.

Stage 4- And finally I work on the centre  of interest-the lady. I also work quickly because this is an "alla -prima" work , I have to make sure the paint is all still wet so the woman doesn't look like a cut-out but part of the painting. All detail is kept to the barest minimum to keep the painting very impressionistic in nature.

"Every artist has  a painting which is hidden away at the bottom of a drawer which, when they painted it, they thought was fantastic! Our eye develops, as do our technique and ideas. It is experience that helps us to see our successes and technical errors and use these mistakes to go forward."-(Criteria for judging an artwork- The Art of WATERCOLOUR Magazine)

Saturday, July 14, 2012

The people I sketch Every Day IV

I have used sanguine, sepia and brown crayons in a Daler Rowney A6 Sketchbook(150grms) for these ones. All 18 heads were sketched on the spot on trips using the London Transport.

I'm sketched myself in this lot, can anyone spot me?

Adebanji Alade- The People I sketch Everyday IV

"Rather than be timid and not sketch at all on London Transport, just do it! In about 11-12 years I  have only had two outright refusals. But I have made many friends, brought smiles, made kids laugh and got people to listen to my ramblings on why I sketch on the train, tube and bus...."-Adebanji Alade

Wednesday, July 11, 2012

The Great British Summer Showers!!!

Summer Showers Sloane Square,  24" x 20", oil on canvas

We have already had all the rain that we could ever think of or get this summer but it ain't over yet! It seems there's a lot more ahead and to celebrate this "down pour" I have decided to post these two paintings that feature rain but with a  bit of colour and beauty to lighten up the days ahead! Don't forget your brollies even if it shines like it is today in the morning!!

Rain, Rain and Human Traffic, 10" x 8", Oil on Board

"When painting rain scenes, one has to fall in love with the rain and what it does, for the painting to actually speak in rain tones"-Adebanji Alade

Tuesday, July 10, 2012

Sketching at The English National Ballet School (III)

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These are the rest of the sketches that during the Ballet rehearsal sessions.  The connection with the dancers and the whole experience of being there live and sketching moving people is what I cherish! It's one of those exercises that a sketcher longs for. One thing that is common in all these sketches is the oval head sketched on almost all the pages. It is also just a good thing to have sketched, so many oval heads on the sheet while trying to figure out how to sketch the different movements. But no matter what technique I tried to use, it always dawned on me that this was beyond my reach. It was humbling but reassuring at the same time.

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"Drawing is the artist's most direct and spontaneous expression, a species of writing: it reveals, better than does painting, his true personality"-Edgar Degas

Wednesday, July 04, 2012

Sketching at the English national Ballet School (II)

This is the second batch of sketches I did. This one and last batch were done in graphite. Sometimes I try my best to experiment but I always see myself coming back to the medium I love the best, which is graphite.

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I had a technique for doing these sketches that helped me move a little faster without being so messy and inaccurate. This was to make sure I waited patiently for the poses to come up, I then made a  mental picture in my mind of the different sequences they kept returning to, so while sketching it was easy to just add a leg or hand to an already sketched torso.  The torso was the kind of common denominator.

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"People call me the painter of dancers, but I really wish to capture movement itself."- Edgar Degas

Monday, July 02, 2012

Sketching At the English National Ballet School (I)

These are some sketches I have done at the English National Ballet School, Hortensia Rd Chelsea. I first had the opportunity to sketch there while studying Portraiture at The Heatherley's School of Fine Art, from 2003-2005. I really enjoyed the experience then and that's why I applied more recently to sketch there again.

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To sketch constantly moving dancers is not an easy experience, it's far different form the people I sketch on the train, even though the train is moving. This was a real test of  pure observation and speed. One just has to be alert and be content with whatever comes out of it.

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This is part 1 of a three part post on these sketches of ballet dancers.

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I have used Tom Bow Dual Wash pens for these sketches in an A3 Sketchbook.

Adebanji  Alade sketching at  English National Ballet School

While sketching the Ballet dancers I heard the Tutor say to the students, "If you don't work to your maximum  everyday, you'll remain at the same level for years"