rich surfaces

The Sennelier oil pastel card paper was sitting in the pile from years ago.  When I first purchased the paper, I used it with Sennelier’s own oil pastels — and I didn’t really like the results particularly.  I’ve since found out about another artist who uses Sennelier card with Sennelier oil pastel to great effect — Benjamin Hope — so I might reconsider (though Sennelier oil pastels are a little pricey for my budget).  I already have some Sennelier oil pastels — but using them, for me, feels like going to visit the Queen.

Anyway, I am using the paper for the drawing above with Caran d’Ache Neopastel and I love the smooth effect.  It’s very rich.  Amazing how differences in paper affect the materials so keenly.  Thus I’ve found a use for the paper that I love and now of course I want to get more of it!  Even though the present tablet sat unused literally for years …

The great thing about good papers, though — they last!  Almost forever …

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the many moods of the blue compotier

The dark blue compotier has been the subject of many drawings lately — this because it occupies such a prominent place in the Big Painting that’s in the works.  However, I wasn’t aware how much I’ve drawn it.  I think I must be drawing it in my sleep, too.  It seems to border on obsession!

Well, I suppose there are worse things to be obsessed about ….

I love the lattice work in this object.  It totally fascinates me.  I particularly love it in the form of a cast shadow, but the light wasn’t coming from the right direction in the latest drawings to observe the shadows.  In the drawing at the top, of which the above is a detail, the widest part of the basin measures 15 inches across which is two inches wider than the actual object.