This Week: Potter’s Pink in My Magenta

A few moments from my week, starting with the high tide at Banff.

That’s Macduff looking postcard-picturesque in the distance. I took a number of photos, but in this one the waves in the foreground have created a triangle that echoes the triangle of blue in the sky, with the triangular slice of land as a counterpoint. It’ll probably feel contrived if I put this in a painting, but for second I took the photo it was ‘real’. The angles of the waves at this point can get quite chaotic as they’re influenced by the sea walls to the left and river to the right of where I’m standing.

I’ve been looking at drawings by Egon Schiele again, and having a go at my version of the ones where he’d used minimal line, with the hands drawn but not arms, leaving the viewer to ‘see’ the ‘missing bits’. This drawing is the one I like the most, of the in-house art critic sitting in his chair in my studio.

I moved the bright and cheerful flowers my friend Lisbeth sent me onto my studio table and started a mixed media piece. When I got to this point, and saw that what was supposed to be magenta was rather dull, I took another look at the bottle of what I thought was magenta watercolour, and noticed I’d changed the label to say “magenta + potter’s pink”. I then remembered I’d done this after reading that potter’s pink will make a mixture granulating without shifting the colour too much as it’s a weak colour, but guess it was a bit much. Lesson learn: make the label clearer!

Studio cat wasn’t impressed by the work-in-progress. (It was dry at this point!) I’ve since added some unadulterated magenta to it, but it’s still very much a W.I.P.

The now-you-see-it-now-you-don’t children’s book on the table is “Enormous Smallness“, on the poet E.E. Cummings. I was intrigued by how his life’s story and poems would be conveyed in an illustrated book. Read: interview with the illustrator Kris Di Giacomo.

Studio cat’s advice was, as ever, to sleep on it.

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