Wednesday, 9 February 2011

Vermeer Study - Girl with a pearl earring (finished)


My finished pencil study

















Medium: Pencil (7H pencul and Pentel P205 0.5mm 2B lead
Paper: Goldline Bristol board
Size: A3 size 420mm x 297mm (16.5”x11.7”)
Duration: 12 hours

Finally finished this epic study today after approximately working over five days. I have covered every square centimetre of this beautiful painting in sketching this study. I think I finally understand something of the process Vermeer used to get this painting looking the way he did.

Hopefully this practice on this study will stand me in good stead when I begin to repaint this subject again in oils. I have learned how he has structured his shadows, his tones and can fully appreciate the lighting he uses to make this portrait stand out as it does. So I’ll have to start getting my oils ready for stage two of this journey I’ve decided to undertake.

I have never enjoyed myself so much with a sketch as I have with this pencil study. Vermeer was, Ihinks, a class of artist, that stands head and shoulders above his fellow contemparies, simply for the dedication and patience he used in his paintings

Tuesday, 8 February 2011

Me nearly famous now...

Well I finally made it into the newstands! and for the right reasons too. Some magazine has just gone and written an article on me and my scribblings.

I’m in the February issue of The Nothumbrian magazine and not only mentioned (which, OK, I already knew in advance) but I’m the very first story in a three and a half page spread, three and a half pages!!!

I cannot believe anyone could find more than one or two sentences to write about me, never mind a whole three and a half pages! that is sooo amazing, it’s the best publicity any artist could ask for! So go out and buy this fantasic magazine, while it's on the stalls!




Gotta go now, the phone is ringing, might even be David Letterman or Jonathan Ross wanting to invite me on the telly

WIP - Vermeer Study

I have decided that I’m about ready to dive into painting with oils, this will be one of my final barriers that I have yet to broach.

So I thought if I’m going to attempt an oil painting, then why not start with the person who I’ve long admired for his accuracy, his colours and soft tones and who shares the same christian name as myself Jan Vermeer.

Before I attempt this mammoth undertaking, I’ve decided to approach this scientifically as well as artistically and set myself a baseline. The baseline being this pencil study I have decided to sketch to give me a feel of how Vermeer might of approached it and also to help me get a general feel about this beautiful portrait.

I’m sketching this study on A3 size Goldline bristol board (16.5” x 11.7”)

So far, I’ve only been using only two pencils, a 7H and a 2B (Pentel P205 with a 0.5mm 2B lead). This really makes you work on trying to achieve a really delicate touch on the shades, and you have to build up all the shades ftom the hard 7H then try an go over this with the 2B, in effect in this study, I’m trying to paint with nothing but pencils.

Okay, this is simply to show you how far I’ve got on my current project, a study of Vermeer’s The girl with the pearl earring in pencil.


I am finding the tones and shades in this beautiful Vermeer, are some of the toughest I’ve ever attempted. Unlike a sketch of an animal or a person where I normally only ever use a photo reference and the only precedence is my take on the reference source. Here I am trying to sketch trying to match one of the great masters where the precendence has already been set. I’m so pleased I have decided to do this pencil study before I attempt to paint this in oils.

I am finding so much detail in every piece of flesh and garments, I can honestly say that I am really beginning to appreciate the work (and committment) Vermeer had put into this portrait. The folds in the shoulder (I’m finding) are as delicate as the reflections in the simple earring. This earring itself is only a suggestion, there are no definite edges to it. The whole earring is only really visible by it’s reflections.

Without doubt this is fast becoming one of the most enjoyable projects I’ve ever attempted in a long time, the worry I normally have over whether or not the client will like the finished piece has been replaced by the my own standards of how accurate I can make trhis study. I keep constrantly checking how close I can get to Vermeer, how subtle his shadows are how delicate the skin is. If you’ve never done this, I would highly recommend it as one of the few preocesses left where you can almost communicate with one of the great master.

This is really starting to get tougher, I thought that the skin tones on the girls face were pushing me to my limits, but the clothing that she is wearing, I’m finding, is sooo fine and to get pencil to look like textured paint is really pushing the envelope. But taking my time, and examining every square centimeter, and trying to replicate it in pencil, is the only way forward. I really do feel that I am finally getting into the soul of Vermeer the only way I know, through my pencils.

Still on only two leads, 2B and a 7H

But l’m beginning to see this portrait in a completely new light, it’s almost as if I can see the texture of the paint strokes, see where he placed his light and darks and where his tonal boundaries were placed to give just the right amount of feeling into this beautiful portrait.

This girl in the portrait is starting to tell me things about her artist, slowly at first but the more time I spend on this study the more she reveals about this portrait of her. I can almost feel the fabric of her head scarf, the tightness of the knot at the top to tie it all together. The addiction doesn’t stop there, I find as I progress more and more with this study, I’m constantly updated minute areas that I have already sketched and thought I had finished, this Vermeer study is slowly turning me into some kind of obsessive with the amount of detail I keep finding and trying to replicate.
Almost there….

...and I'm still enjoying every agonishing minute of the process!


Tuesday, 1 February 2011

Medium: Graphite pencil, leads, 2B, 7H, 6H, 5H and 2H
Paper: Goldline Bristol Board 220 gsm
Size: A3 (16.5” x 11.7” – 420×297mm)
Duration: 6 hours

This is a sketch of a wee Jack Russell, I have been sribbling for the past two days. Sketching a white dog really stretches my skills with a pencil, some of my students often ask me “How on earth do you sketch white fur with a dark pencil?” well truth be told, slowly, carefully and use very hard pencils.

The cushion the little fellow is sitting on took about as long as the dog itself. I kept scanning this sketch from start to finish and have a nice collection of images I was thinking of putting into a tutorial

Tuesday, 18 January 2011

My Dad





















Edward Szymczuk (22.03.1919 – 12.01.2011)

My dad was not famous.

My dad was no-one special.

My dad had not lived as a movie or rock star.

My dad was not even academic or well read.

My dad was was so much more than any of these, he was after all MY DAD.

My dad as a boy grew up in a Poland, who then became a teacher.

My dad was captured by the Russians in his homeland and carried off into a cold and bitter Siberian camp for no apparent reason other than being a Polish soldier at the outbreak of war.

My dad was released by these very same captors when Russia joined the allies, and then along with hundreds of fellow countrymen, walked that epic journey from Siberia to Palestine, mile after thousand mile, all on foot.

My dad made it to Palestine and fought with a some of his countrymen in an army in exile for the liberation of his beloved home from the Nazi occupation.

My dad trained to became a Paratrooper, fighting for the British and learned the way of war.

My dad swam the cold deadly Rhine at night when asked to do so, to deliver radio communication to his allied brothers in arms.

My dad crawled on his belly up the steep sheer slopes of Monte Casino while all around him were dying, crying and lying, many who had tried and so many who had died, but he was one of the lucky ones to reach the top where he cried.

My dad was given a choice after this war of wars, to return home to await possible death in a country no longer his, or perhaps America to start afresh, but instead chose England who, when all others ignored his country’s plight gave no thought but to come to his country’s aid and go to war against this injustice of Hitler.

My dad met and married his polish wife, in a German town, who herself was just a girl taken from her beloved mother and her Polish roots and had spent her youth and adult years on foreign German soil.

My dad rejoiced when his first son and daughter were born, in a German land now quiet and defeated.

My dad brought his new wife and my elder brother and my elder sister into this new land, this England, this foreign land, for the chance to start afresh.

My dad lived with his wife and children, in a temporary wooden house amongst fellow countryman who had also chosen to stay in this new and free land.

My dad one night cycled to his makeshift home to find it on fire, everything they owned except the ones he loved, perished that night in that fire, a fire I think, scared him more than he would show in the years that followed.

My dad took up work as a coal miner where a house and a wage was assured to feed his young family and coal was given freely to warm their souls.

My dad applied and was given British citizenship, and was proud to hold his head up high in a land he had adopted and loved as his own, though he never forgot his roots.

My dad learned to speak English word by word with a purity and clarity beyond his own expectations, and excelled in this new tongue enough to make him confident enough to write a book (sadly never published) on mathematics and the use of a slide rule in his new learned tongue.

My dad was joyous when I was eventually born, the first in his new homeland, followed a few years later by my younger sister.

My dad cried when his first daughter, my sister was accidentally knocked to the ground by a truck and nearly lost her leg in the local town, who instead spent a lifetime on medication which effected her abilities to lead a normal life like other teenagers in her class.

My dad watched and cried with his wife as they buried his first daughter, my sister, in a ground cold and hard, who had her life taken short by a madman’s blade in an crazy act of murder.

My dad watched and cried as several years later, he buried his wife in that same cemetery next to his daughter in a land he now called his home.

My dad was a proud man and lived alone for many years, getting older and developed a stoop, but said little more than I cannot grumble, when asked if he would like to live his remaining days with one of his sons, politely declined for his wish, you see, was to see his final days in his house he called home.

My dad fell down one day in the kitchen and couldn’t get up, old as he was, he lay until a kind neighbour who always called discovered his plight.

My dad was taken to hospital to try and get him better and possibly return home to his house and friends.

My dad caught pneumonia, becoming frail, so ever frail and lost so much weight he could ill afford to do so.

My dad, it was agreed by consultants and carers that his future should be spent in a nursing home where he could be properly cared for by nurses and staff, in hopes that he would enjoy his limelight years and maybe have a quality of life so justly deserved.

My dad was due to move into his new home, which was ready and waiting with a shiny new TV and a comfortable bed and nurses, were provided for his every need, when in the early hours of the 12th of January 2011 he had a relapse and was rushed into the MAU (Medical Admissions Unit) at the local hospital.

My dad was rushed into a room awaiting my presence as I drove like a madman to the hospital where he lay through the early hours of a winters morning with only the stare of bewildered rabbits along the edge of the road to watch me on my journey.

My dad was waiting, when the doctor attended took me aside and informed me that my dad had only hours left, they could do nothing more but make him comfortable, until his time came.

My dad lay on his bed with eyes half open and unable to speak, I called his name, again and again, and held his thin small hand as his breathing become shallower and shallower. I watched as the seconds and minutes crawled in slow motion, I saw my father stop breathing, once then twice but after the third time he breathed no more.

My dad lay still, never moving, his hand in my hand getting colder and his eyes closed.

My dad was finally at peace I thought and hopefully was looking for the wife and daughter, my sister, he missed, to catch up on tales to be told and life renewed.

My dad died that morning on the 12th of January at 5.16am on a quiet winter’s morning in a small hospital room with only me his son by his side.

My dad will be missed, will be remembered and will never be forgotten, all I hope for, is that I too am lucky enough to have a son or daughter to hold my hand on a cold and quiet morning when all is still and my heart beats no more.

Goodbye Dad

Monday, 20 September 2010

Lloyds in Portugal

Medium: Graphite (leads 2B, B, F, 3H, 6H 7H)
Size: A2 (594mm x 420mm)
Paper: Goldline Bristol board pad 220gsm
Duration: 16 hrs

This is the third and final of three commission sketches in graphite, this one, the main one is of the entire family, and probably one of the most enjoyable sketches I’ve rendered for a long time.


The original reference photo, wasn’t the best to work with, and the composition between the family members needed some tweaking (one child was alone on the right hand side and the other child was next to his dad with the mother alone in the middle of the photo), so I loaded the original photo I was given into Photoshop and moved the boy on the left closer to his mum and also brought the other sibling and his dad closer to make an athestically more pleasing composition.


Now that I had the composition I wanted, I soon realised that I would be sketching quite a lot of flesh and skin tones (boy do I like a challenge or what?) I also tried to linked the hi-lights in all of their eyes and sunglasses and make them similar, so I took as a basis, the reflection in the mother’s glasses (as “Brian” a dear old artist friend commented – reflections are a great aid to the artist) and tried to replicated this reflection in all the other’s eyes. I think it worked as you don’t notice it at first, but the link is there. The skin wasn’t as too bad as I had imagined and went onto the paper fairly quickly with careful cross hatching, now some folks would scream at the thought of cross hatching visibly on skin, but I wanted these figures to seen as being sketched and not mistaken as photos and cross hatching (I think) tells the viewer it’s not a photo but a sketch – see?).


The toughest time I had was in all four hairstyles which ranged in shade, texture and wetness, the first boy (on the left) had to have just wet damp hair, the mum posed a seperate challenge with her hair more loose and blowing in the wind, the other sibling had that kind of hair which is just starting to dry with a few dry strands blowing out in the breeze, but the daddy of all the hairstyles was with the dad himself, I think this is a first for me, short blonde straight and slightly ruffled hair (his hair took me over 2 hours alone!). The thing I like the most from this whole final sketch (apart from the hair, skin tones and teeth!) is how I used the towel as an anchor, it kind of pulls the figures closer together, sort of.


Well tommorrow is going to be the big day when I meet up with the client and find out whether or not he is satisfied with my art on these three pieces (which is going to a present for his wife in a few days). Hope she likes my efforts, otherwise the school runs I see her every day are going to be kind of akward

Beautiful Boys

Medium: Graphite (leads 2B, B, F, 3H, 6H 7H)
Size: A2 (594mm x 420mm)
Paper: Goldline Bristol board pad 220gsm
Duration: 14 hrs

This is the second of three commission sketches in graphite of two brothers.

I’v enjoyed this dual portrait sketch, as there was great contrast in tones between the two brothers, again it was a challenge from the start as I had to work from a very low quality photo and I decided to leave the background out as it was a very monotone black sofa. I thought that these two boys could stand alone without the unnescessary distraction, of that kind of background. The third, in the series, is going to be tougher as I not only have to sketch these two boys again, but add their parents into the final composition as well. And the sources are all seperate photos. Well it wouldn’t be fun, if it was too easy now would it?

Saturday, 4 September 2010

Afternoon Snooze

Medium: Graphite (leads 2B, B, F, 3H, 6H 7H)
Size: A2 (594mm x 420mm)
Paper: Goldline Bristol board pad 220gsm
Duration: 10 hrs

This is the first of three commission sketches in graphite of two brothers.

This one was really challenging, firstly, as I had to work from a very low quality photo and secondly the light of the subject was in shadow under a canopy with a light cast shadow. Patience has purserved as I found tones I never thought a hard pencil could go to. The detail in this particular sketch, especially on the different coloured bands of the blanket kept me real busy!

Liyanah


Graphite on 80gsm acid free paper size A3.

Time taken: 3 hours

I began sketching this at my local art club in Killingworth, and finished it a few days later.

This is a sketch I created as a present for a dear friend who turned 50 today (Happy Birthday Cathy!) of her grand daughter Liyanah.