What I have been up for the last couple of months

After I signed off at the end of last year, I became quite busy, unexpectedly so, every year I take part in Incognito here in Ireland which is to help fund the Jack and Jill foundation for families with sick children. For the past four years I have taken part. 

The concept of incognito is simple yet impactful: offer original postcard-sized artworks by both emerging and internationally acclaimed artists, all for a fixed price of €70.

For me, this is a wonderful opportunity to create art in miniature form. Most years it has be just three paintings per artist and you the artist decide the theme, the style but the art must fit onto the postcard that they send you. This year we had a massive storm that cut parts of the island off from the rest, some people had no electricity, heating etc. It was then offered to those who could to add a fourth painting into the mix. 

For the first year I used a combination of mediums that I enjoyed using. The frog was done with soft pastels, the holly with watercolour and the dog coloured pencils.

Since completing University, this had been my first time putting my art out there, on a personal level that was huge and gave me the boost to follow my dreams. They were all bought which you do find out about a month later. I do not know who bought them, but I do hope they bring pleasure to the owners.

The following year, I went with a theme of sorts, I drew animals and used Pen & Ink.

By using Pen & Ink, I felt that with the size of the canvas I was able to create some movement and character to my paintings. Something wonderful and unexpected happened my giraffe became part of the logo for the Jack and Jill Foundation. I was so chuffed, never expected it at all, and I think that's what makes it more special.

This year I went with a nautical theme of sorts! 

  

     

I used three mediums in this small collection, the first painting was done with watercolour, and only using one colour to achieve a tonal landscape, I only used Paynes grey which gave the effect I was going for. The second image is of a rock in the sea off the coast of France, the photo was taken as the sun was setting allowing lovely shadows to appear. 

I very rarely paint seascapes, so this one gave me confidence to tackle the fourth painting. But moving onto the third another subject that I'm not great at doing, boats, the perspective, the angles, headaches consume me, hahaha! 

But after a lot of sketching and practice in my sketchbook I found what worked and used these to go for my boat sitting in dry dock as the tide has gone out. I used soft pastels for this boat a combination of soft pastel pencils and pastel sticks for the background. My final painting was done using gouache. For me, gouache is like a combination of watercolour and acrylics but more forgiving than both. All you have to remember is to allow each layer to dry before you apply the following layer. Again, I have practiced using gouache in my sketchbook over and over to make sure I dont over water the colours. It takes practice but one you achieve that technique of using it you will be hooked.

Following on from February, I felt that I needed to expand my collection of art, painting animals is wonderful but there is so much more of the world out there that I want like many artists to capture it.  This year marked my 20 years living here in county Carlow, with the milestone I wanted to celebrate it to show my own personal gratitude to the people living here. I began a series of paintings capturing which I consider the iconic places here in our small town. I used both watercolour, pen and ink and soft pastels. These landmarks are quite old and are steeped in history, the architecture one would see in many part of ireland over the last hundred years. Interestingly enough, both of these buildings were built between 1826 the courthouse and the Station 1848. With the lack of pollution here in this country town they have both look very good and have been looked after by the community.

The Court House - painted with watercolour Pen & Ink

 

Bagenalstown Train Station - Watercolour with Pen & Ink

Rudkins Mill with the River Barrow in the foreground, painted with watercolour.

Rudkins mill was built in the 1680's, this mill began the long history of milling industry in the small country town of Bagenalstown until its decline in the mid 20th century .

Golden Hour at Mount Leinster - Soft Pastels

My final painting for my celebration of being an artist in Bagenalstown is my view of Mount Leinster from my mother's house where I spent my years of teenage life looking at. Even today, a rather cloudy day as I look out my window I can see mount Leinster. For me, the artist, child and adult this view is home. I took the photo of Mount Leinster with the evening sun sweeping across the mountain range into the fields below, The many colours in each rock and the autumnal colours of the trees beginning to turn. I used soft pastels to paint this painting.

In May, there was a call out for local artist for an Art Gallery in Carlow town for the upcoming art festival. I have loved going to this gallery and wandering around at so many great artists, crafters, potters and jewellery makers all based here in Carlow. Like many artist "You not only second guess yourself but you also don't think you are good enough"! Thankfully the owner, after seeing my portfolio of work asked if I would like to become a member, I jumped. "Yes, Yes"! I was so excited but knew I need one more piece of art to submit.

My Highland Cow, painted with soft pastels was my last painting. I wanted to draw him with wild shaggy unruly hair, giving the impression of the wind moving his thick hair as he seems unbothered by the breeze.

Just after finishing the highland cow I was asked for a commission for a wedding gift, as the happy couple had just brought a lovely little Jack Russell into their fold, I was delighted to paint this commission.

This is Milo he looks so cute and in real life he struts while out for a walk with his human Mum & Dad, he looks to be a real character!

Although this painting brought me up to the end of June, you may wonder what else I've been up too, well, my mind needed a little break, and what I do for this is to sew, do something completely different. 

For the month of July, I came up with a design for a quilt. Not just a plain quilt, it's me, I do nothing by halves, I wanted to have raised elements (Appliques) in my quilt and appliques some flat. The raised appliques are stuffed with wadding. For two and half months I have been sewing, stuffing and  learning new techniques. I use a sewing machine for all the sewing.

 Now that I am nearing the ending of my quilt, I am eager to get painting again. I feel that taking a short breaking is great for the soul and creativity.

When the quilt is completed I will post a picture here, possibly a week of so!

Until next time, stay safe, be creative!

The Busy Month of November

 Art  Completed & Work in Progress!

My apologies to those who are following my blogs, as the title states last month was very busy. The reason for this hectic life of an artist is that I was working on 3 subjects. 

Every other year I design and paint my Christmas cards, truth be told its normally December before I get around to them in the past, burning the candle at both ends. This year I was good, ahead for once!

I found that by doing Inktober my mind was in the right place, to sketch and add colour. It is like any craft or art you have to be in the mind set. Normally in past I would paint imaginary scenes, this year I wanted to incorporate where I live but keep it very simple and in many ways this could be anywhere in the world.

Sli na Breau

Here is an example of the quick sketch that I did, "Sli na Breau" is the Irish spelling for Barrow Way (the Barrow is the local river near my house).

As you can see the sketch is very loose and I knew that I wanted a snow scene. Doing a snow scene is very quick and handy. Think about it, you are using white paper (cold pressed watercolour 300 gsm) so any highlights do not have to be painted in. To preserve the white of the paper I used masking Fluid.

I have used many different makes over the years and this make is by far the best. One crucial tip I will give, do not leave it anywhere the sun can shine on it, It will dry up and unusable.  If you need it near you have it in the shade and keep it away from any sort of heat.

Although only the highlights of snow are white, there are many other hues found with snow, and that can be the reflection of buildings, the shadows from buildings. Here is an example so you can understand.

Graiguenamanagh Co. Kilkenny

If we just look at the snow, we can see the highlights, but also the reflection of the sun, a yellowish hue, the shadow of the mooring bollard in the foreground, it is not a grey it is a more purple-blue hue. This is where snow can not only be easy to paint but it also allows a little more freedom for beginner watercolour artists.

As mentioned before, I used local scenes  and used a little artistic license with the images to fit in with what I was going to paint. I also knew that I wanted to incorporate an animal or two.

I took inspiration from YouTube, I have no problem admitting this, many artists would not, but I can see the how it can help, we go to galleries to be inspired by old masters and contemporary artists, there is no reason why with so many artists on YouTube that we do not treat them the same. 

One artist that I really like his work, Paul Clark. His work is mainly wet in wet, not really my cup of tea as I like to control the outcome of the painting. But if I want to practice something, his channel is one that I will watch and then go off and try it out. 

To keep it simple for myself and not go overboard (I sometimes do!), I decided to go with five scenes, and duplicate them. Each of the duplicated ones turned out very differently than the original, the hues were stronger in some, the skies were different and the more I did the faster I was able to complete the sets.

The artistic Licence that I used on this was to bring the Castle into view, I added and old Irish telephone box which are no longer operational in Ireland in these colours, maybe the cream and green accented ones are more towards the west of Ireland, but not where I live, but it adds to the painting.

Here, I added a tree, there are no big trees near the style its all overgrown with brambles, again, a bit of artistic licence to make the painting look interesting.

I did three of these paintings and each one the river and pond are very different the hues are stronger in some and the detail is less in others.

I tried wet in wet, and it kind of worked, so I glazed many layers to achieve the depth in the fox's coat. I doubt that I would do it again as wet in wet, I probably would use the wet on dry.

Basically, the with wet in wet you wet the whole paper allow it to sink in to the paper and then add drops of paint into different areas. You can keep working on the image for some time all providing you are using 100% cotton paper. As this will stay flat. Wood pulp paper will buckle and can be a nightmare to work with wet in wet.

Wood pulp paper is cheaper, and the sizing is normally not all the way through the paper, mostly on the surface.

Now, wet on dry painting, is where you add very light washes of colour, allowing each layer to dry completely, you control the colour density, but it has to be done in layers and each layer you use less and less water to the paint and each layer mush be dry before you add the next layer of paint. It is a much slower process but you do have more control.

I have always loved painting stones, walls and things with texture, especially in watercolour. This painting was done using the wet on dry watercolour technique for the wall the post box and the fence. The background the sky and distant trees were painted wet in wet. 

The masking fluid I used it in this painting after one layer of colour one the snow, it was a very light wash of blue/grey, very watered down, more water less paint. By doing this the snow was not a bright white, it had a subtle tone of shadow off it and then I went back in adding deeper tones to suggest shadows with in the snow and reflections.

Each of these small paintings measure approximately  4 x 6 inches, I attached them to pre-made card stock that measured 5x 7 inches. The colour I used as I felt it would add a good mount (mat) to the overall image was a Christmas red, I always write on the back of the cards : 

Title

Medium

Artist name 

Date   

Website

I also add this to the paintings as they can fall off over time off the cards. 

This is how they look finished.

The completed set

Along, with painting these Christmas cards, I also was practicing sketching boats. In August, this year I took part in a Plein Air in Graiguenamanagh, which has a lot of boats moored along the key side. I think it has been close to 30 years since I sketched or painted boats. I do prepare alot in the winter months on upcoming events that I want to take part in over the summer months and I practice things that I have either forgotten or very rusty in how to sketch things. So, I practice alot, different angles shapes, studying how other artists approach the subject that I struggle with. 

Inside an artists sketchbook

These were simple pencil sketches looking at how some artists approach the drawing in the simplest manner, a flat figure of 8, others I just sketched what I saw not necessarily looking at the negative space but just looking at the shape. Then adding shadows. It is still a working process but the more I practiced and the different techniques I used the better it allowed me to improve. 

I used both the grid method and the proportional divider tool.

This is a proportional divider,

It takes a bit of practice to use this and I use You Tube to help relearn how to use it. The grid method is basically, whatever the image is divided into 1 inch squares and then you divide your paper into 1 inch squares. 

One method that I found easy to use for the proportional divider was to find the centre of the image and draw one vertical and one horizontal line through the centre and do the same on your paper and for each point make a dot on the paper and then just join the dots up.  This can be time consuming, if you were just doing sketches. I found for quick sketches the grid method was simpler  and faster. You can use the proportional divider too with the grid, but for boats it was not really necessary. What I also was working on it was invaluable, more of that later.

The basic sketch of this boat was used with the proportional divider, and you can faintly see the horizontal and vertical lines on the page.

Although the angle of this boat did not work I also use the proportional method, I too have fails! I will try it again, probably a few times and will show you in another blog post!

From this sketch you can clearly see I used the grid method, and it really allowed me to get the perspective correctly and the shape. I use pencil normally a HB or if I  can't find one a 2H. I personally find the harder pencils easier to use in my wood pulp sketchbooks. Remember,  you are not holding it write with, it helps to hold it further back so light strokes are use and will rub out if you want to. 

I will be continuing to practice drawing different shapes of boats over the next month and what the third style of art I have been working on.

If you are in Ireland, the UK or further a field and you have heard of "Sky Arts - Portrait Artist of the Year". I really enjoy this programme. Over the years, I have tried drawing pencil sketches of eyes, noses, ears, hands and feet, but all separate not connected to the whole picture the face. 

Within the month of November, I challenged myself to try and begin drawing portraits. I can draw animals, horses (which most people say are quite hard!)  I figured these out, understanding the different planes of the features and the direction to add strokes of hair, to trick the eye to what essentially is a 2 dimensional surface drawing, but with the fine detailing that it become more 3 dimensional. 

Human faces, I want to conquer. So, that is what I am working on for the next while. I have started by using my family as my guinea-pigs , well there faces. I have taken so many over the years that I decided I have my references and I can at least try.  I am going to share all my fails, as I think this will not only help you reading this to know you are not on your own, everyone has failures starting out, learning something new. 

Initially, I tried using the proportional  divider and I had the one from Derwent, The problem with this style is that unlike the new version (pic above) it does not have a fine end to really get a more accurate placement of the markings. 

My first attempt I tried dark skin tone, and I only did half the face, and there is a resemblance sort of, but its not correct by any means.

This is the image I found on Pixaby, just enough information showing highlights, shift in colour tone around the eye, below it, near the nostril and at the side of the face.

A good start, I have a bit of everything. I decided to you my oils. I use winsor and newton artisan - these are water soluble, you can add water to loosen them so your first layer is quite thin. I am quite sensitive to many of the traditional oil mediums, that it why I use the water soluble ones.

The surface that I am using is canvas on a roll, I cut the size, taped it on to my board and after three coats of gesso and sand papering in between each layer I then but a light wash of a mixture of raw sienna and burnt sienna on the white canvas to take away the stark white. Using a white pastel pencil I grided up the piece of canvas, then sketched in the image. To save paper and the trees, I use an app on my phone to grid images up, you can go as simple or more technical as you want. It is a free app on google play (it's called Grid Art).

I then used a fixative  spray for pastels/charcoal and this preserved my sketch. I am not too sure if I have mentioned I can be slightly impatient!  I did rush this but I am glad I did as you will see with the following pictures, that I can now step back and critic my work. What this does is that I have learnt from past mistakes what not to do again.

First of all, the eye is too big, it is not on the correct angle as the image, there is not enough subtle transitions of tonal value across the eye, above the eye, its quite cartoon style, my shadows and highlights are in the wrong areas. The tonal values are not correct.  There is alot more work to be done, and I rushed it. I should have taken more time deciding to look more closely as to where the colour tones shift and possibly smoothed out the paint strokes. I will do this one again later in the new year.

My next attempt was my daughter, with this painting I used the reverse of the canvas roll, that I had used for something else and the idea did not work out, so waist not want not, and this is just practice, I prepared it same as before but rather than using yellow ochre and burnt sienna as the base I used a tonal grey. Also, I began doing an underpainting in acrylics. Why, you may ask, as I did not do that before. 

I thought I had yellow ochre in oils, but I don't at present, and by using yellow as the base colour, then adding cad red to make an orange then adding blue to desaturate the red. If you understand the colour wheel you can make your own colours but it can also be slightly frustrating when starting out. I suggest have the colours you need. 

As I mentioned before, I have many images of my family, my daughter's was  my guinea pig. She was quite proud to take part in my new adventure. As she is in University, I worked from a photo I took of her earlier this year.  

            

Having the colour photo I then brought it in to the software I am using for photo's

Affinity, and grey scaled the pic and slightly blurred the pic. This meant that I could just see where the shifts in colour tone were placed. I chickened out and just did one eye, part of her face again. This time I took it quite slowly.

By using a grid and the proportional divider together, I was able to get a  very basic sketch down. As I am more comfortable with acrylics, I found it easier to manipulate colour tones better than with oils. 

The pic above is just the blocking in of colour tonal values. It also helped that I had all the colours at hand to catch the colours I found on the image.  This took approx. three days. I would work on it, step back, make slight adjustments, let parts dry as the colour tone shifts when dry and the next make changes if I needed. When my daughter was home from University, I would sit her down and study her face to see the colour tones and make notes in my sketchbook. My poor kid!

I began to add oils to the painting last week. What I began to see were parts that I needed to change, such as the white of her eyes is too grey, I  need to add some warmth in them, darken areas that I have too much light and fix the skin tone in areas as it too is too dark to too strong in reds, I need to knock it back with green, along with  the eyelids I need to remember the planes of the face. This is in reference to the Loomis method. Each part of the face has different planes, which when painted will give the illusion of 3 dimensional effect.  I also need to fix the colour of her iris, they are more of a light brown with a hazel mix, very unusual. My critic here is what I am looking at when I step back and squint at the reference image. 

 

This is so far looking much better, but there is still more work needed.  It is beginning to sing! I will be working on this over the coming weeks in between getting ready for Christmas and New Year!

This brings me to my next post, as Christmas is approaching quite fast, I will not be posting the beginning of January. My next post will be in February.  

Until then, I wish you and your families and Wonderful Happy Christmas! See you in 2025!

      

   

 

Welcome To Celine Flynn Art Blog

 

The Journey Of An Irish Artist!

Where It All Began...

Over the last couple of years after meeting some wonderful people interested in my style of art. One of the many questions I have been asked "Where did you learn how to do this? Have you always painted?? What is your favourite medium?"

I feel we must look back to my childhood and how my journey into art began. As a young child, as far as I can remember I was always drawing, (not necessarily on paper!) I know a bedroom wall was used, much to the annoyance of my poor mother. 

As a young child growing up in the early 1970's in Dublin,  my dad was a great influence of my art appreciation, instilling it from a very young child often he  would bring me to the National Art Gallery  or  the Municipal Gallery of Modern Art - Now called the Hugh Lane Gallery of Art.   These visits were not rare occasions but normally happened over the winter months.

One of the first memories I have, is that there was peace and a calmness in the gallery space, my sense of smell was heightening by the old painting, the polished floors. I think I would have been about six – seven years of age. This in my child mind was a wonderful place. Each painting, much larger that me, drew me into their picture of the story the artists was portraying.

The detailing on the clothing, furniture, and the way in which the light fell within in the painting set the scene, whether it was a battle, landscape or still life, little Celine was drawn to the story beyond.

The Hugh Lane Gallery in Dublin city, during the years that we visited the style of art engaged us in a thoughtful way. Modern art of my time growing up was mostly abstract art, and would look very contemporary in today’s art scene, back then, it made up ponder on the question do we like it, does it draw us in like the older paintings in the National Gallery?

One such painting that both dad and I talked about a lot was  the painting by American artist, Agnes Martin.

Artist: Agnes Martin (1912 - 2004)
Date1980
Medium Gesso, acrylic and graphite on canvas
Dimensions184 x 184 cm

Classifications Paintings
Credit LineCollection & image © Hugh Lane Gallery. Purchased, 1980. © The Estate of Agnes Martin.
(Image & Information courtesy of The Hugh Lane gallery archives)

After I finished secondary school, I knew I wanted to pursue a career in art, visual art was just beginning, but fine art was the main style being taught. College introduced me to the vastness of fine art, from sculpture, printing, life drawing, history  and photography (SLR style) and so much more.

Every part of this I enjoyed learning, it was in many ways perfect for me, as a person with a neurodivergent brain, where learning in a visual way I can excel but when it comes to writing things down I am terrible, but I have got better at this over time. Back in the 1980’s, Dyslexia, dyscalculia, and dyspraxia were in the infancy of learning of 

what these were and how they affected people. I mention these three, as these are the ones I have but there are many more.

Of all the modules that I leant, I found photography was the one that I got, understood it. As my first year in college was ending, I knew I was not going to make it through so with the help of my wonderful lecture I got an intern ship with a photographer. My journey was now heading a different route.

After a year and a half collaborating with him the draw of going further afield was pulling at me, I wanted to see some of the world, it is an Irish thing, when we are young and unattached we want to stretch our wings.

One of my siblings was already in England, and off I went, with many copies of  my CV’s. I gave myself two weeks to get a job, I did. My photography gave me the entrance into publishing, sales, and advertising. I was one my way. I lived away for a couple of years and one on my return I met my late husband. Soon we were married and children on the way. Art had taken a backseat. Life was bringing me on a different journey.

One of the best presents that I got from my family was “Simply Painting” by Frank Clarke, this book brought you through the step-by-step process of watercolour painting. I was given the basic set of watercolours and brushes. I was all set to beginning painting again, but with a medium I had never used.

Side note: we have to remember in  has to remember back in 1995 YouTube did not exit. DVDs was one way we learnt and watching TV shows and recording them.

Slowly over time with many fails I got better with watercolours, and with some I began using Indian ink. One of the many things that I am thankful for is that I did was that  I took many photos while on holidays and even out and about visiting places in Ireland. These were my references for painting, normally I painted many local scenes initially just for fun.

In  early 1998 I took part in my first exhibition, and entered five painting, they were all of local scenes, painted in watercolour.

All five were bought and I was thrilled, what a boost to my confidence. From this one exhibition, I began slowly to get commissions from local people in the area. One, local scene was so popular I painted different angles of it more 10 times! 

I was invited to teaching the active retirement club in the area that I lived, and this was another wonderful experience. I taught the club members the basics, we all painted the same scene, and they were all different. From this  invitation, I began regular evening painting classes with the community I was living.

 

Looking back now at my artwork from the early 2000’s, my style began to develop. Curiously enough, it has developed further today into a more realism style.

 

Jerpoint Abbey - Watercolour with Pen & Ink

Kitchen Garden - Belvedere House, Acrylics

 

 

Sedona, Arizona - USA - Oils

 

In mid-2005, everything changed for my family and my art. My husband died, and I moved closer to family. For some art is therapy but for me this was not the case. With a young family time is fleeting so I spent time with my children. Over time I flitted into different crafts, as this was manageable, in the evenings.

My mum knew that I needed something to help me, and with her encouragement I stuck with one craft, jewellery making. Like a magpie I do love things that glint in the light. I repaired, redesigned jewellery for family friends and started designing my own. They were simple designs with fimo clay and silver. What started as a hobby grew, and this was after the “Tiger” had left Ireland!

By, 2007 I had become involved in the bridal industry by word of mouth. I was busy, my kids were happy and art in a unique way was part of my life again.

Bird Cage Veiling design for past Bride

Fresh Water Pearls designed crochet wire necklace

Mt. Lenister Ranger Rose Commissioned Tiara

As I look back now, my business was more than I thought it would be. Over the seven years designing and meeting lovely brides and their families made the hecticness of it all worthwhile. My previous work in photography, advertising, sales, and publishing all stood to benefit.

What I did take from this business, is that if you create a piece of art, you must do so with the best quality that you can afford. As it will last the test of time. In saying this, I created pieces of jewellery and accessories for brides who then sold them to other brides. If they had bought something cheap, they would have lost their monies. I do feel that quality will always stand the test of time.

 

As I mentioned above, using the best quality was key in my business. I found that  coming up with new and unusual designs was quite a big part in this sector. You needed to think out of the box. As many of my friends and family were avid knitters along with doing crochet, I tried to knit and crochet with very thin wires incorporating semi-precious beads. There was a lot of trial and error, unlike wool if you dropped a stitch sometimes you might have to start all over again.

Eventually, I got the hang of it, researched a lot about wire structure. I honed in on old Irish lace designs and produced designs that would work with wire structure. 

In doing so, as my developing designs were unusual, I was asked to represent Carlow Crafts,  at Show Case 2009 in the RDS in Dublin. This was such an honour and achievement to be recognised as a jewellery designer.

 

Crochet Chocker Winning Piece at Show Case Ireland 2009

Knitted Wire Leaf Brooch - Second winning piece at Show Case Ireland  2009

I continued designing jewellery and bridal accessories for three more years. I found with my children growing that I needed to take a step back. In 2016, with the encouragement of my family I wanted to explore where I could go with my art and designing hat. I enrolled into a fulltime foundation course for university. The course I chose was Product Design. My eldest son was also studying it, it piqued my interest. As it had been years since I was in an educational scene, I felt that this course would help me.

Parts of the course I enjoyed, the technology in photography  was very new to me, as a mature student this part was quite daunting. Finding the right  course that fitted my needs as an artist, this course was not it. What I did realise and where I excelled was drawing, painting, exploring more of what technology in photography could give me. Product Design was not the course, the calling for Fine Art was where I felt I should be.

 

Sketchbook Graphic Design 2014

Acrylic Rope detailed painting 2017

                                                                                                 

Before I made the plunge into four years of university, I did one more year in a fine art advanced certificate. This course was the right fit for me. It gave me modules that I really enjoyed, painting, history of art, drawing, photography, and the technology side of photography. The classes were small, and the tutors were amazing. Their encouragement was the guiding light I needed to make such a huge decision. Four years is a long time to give to art other that family. On a personal level I needed the backing from my kids. Once I had that and from speaking to the college myself, I made the decision to apply. I accepted my course choice in August of 2018.

To some, going back to college over fifty may seem madness, why not just paint at home?

I agree to some painting at home is the way to go, for me, I like a challenge. I enjoy learning new ways of seeing things, developing ideas, from a sketch to a painting. Having the confidence to express how I feel about an object or scene through painting. Being surrounded by young enquiring minds is wonderful, I was for some of my classmates  their ‘college mammy.’

What I did realise, is that fine art and visual art different enough. Some have said that fine art is a dying, personally I do not think so. There is always a good market for fine art artists.

This is what college gave me, a desire to understand, question why people think differently about things in art. In hindsight, I personally do not know if I would have got all the questions answered for my mind if I did not go.

Visual art gave me an insight into the world of art through different disciplines. What I enjoyed the most was how technology is now very much part of visual art. Artists are using technology to help their peers how they visualize the world.

Some have kept their art very traditional, where others have taken on the development of technology and allowed this to be part of their art.

 What I took from my college education, that there is a place for both traditional and technological art. At the end of the day there are necessity, you need, to be able to draw, to be open ideas, inclusion of what some see as a craft it actually not, it is now a part of visual art by definition.

Towards the end of 4th year in university, one to two lectures questioned us as to where we saw ourselves in five years’ time. Many of us, did not really know. This made me think and I did a little research to find out how many animal artists there was in my area. I was drawn to doing this style of art, even though I never touched on it in uni.

You Tube was my first stop on the research trail, I already had a collection of polychromo colour pencils so I went initially in that direction. I looked for youtubers that explained the basics how draw an animal, how to use the colour pencils correctly, how to add layers of blended colour, what surfaces worked well and what did not.  Bonny Snowdon was the first artist that I could follow and I joined her Patreon, the basic level. I drew dogs and cats for about three months daily and soon progressed onto soft pastels. 

First Pencil Drawing for a friend who's cat had died and this was his favourite spot to sunbathe

This elephant drawing was my second drawing

Away, was my third drawing

The reason for me for switching was that to gain the amount of layers you needed was quite time consuming. Colour pencils is for people who are patient, not one of my strengths. I came across Jason Morgan on YouTube and again great at explaining the basics in animal drawing. Like all art mediums some you will like some you won’t.  I invested in soft pastel pencils, soft pastels, pan pastels and with hours and days of practice I was able to draw dogs, cats and horses, I love to challenge myself.

Even now when I look at these, I see how I could improve them, by slowing adding  more layers  of colour and blending more.

This drawing was done this year just after Christmas,
it took me about a month to complete, t
he difference is huge between two years ago.

The reason for me for switching was that to gain the amount of layers you needed was quite time consuming. Colour pencils is for people who are patient, not one of my strengths. I came across Jason Morgan on YouTube and again great at explaining the basics in animal drawing. Like all art mediums some you will like some you won’t.  I invested in soft pastel pencils, soft pastels, pan pastels and with hours and days of practice I was able to draw dogs, cats and horses, I love to challenge myself.

Where I live, and family members would be the first to tell me if I got the proportions of a horse completely wrong.

These are PanPastels they are a cake form of pastels 

This painting above of the baby gorilla
was my first attempt of pan pastels and soft pastels

Copper
was my second drawing

Soon I experimented with drawing wild animals, elephants are my favourite and I practiced and practiced them until I was happy to draw them on the expensive paper.

Again, from research I found that many artist use pastel mat card/ board. It’s expensive, but the amount of layers you can achieve is wonderful.

Of course I had to try and transfer these same techniques onto canvas and use acrylics, it was trial and error but I got there. 

Kingfisher was painted in 2023, the Bokeh effect I created by using an airbrush.

Rooster
Was painted on a wooden panel in 2023

For the last two years since graduating from university, I draw, paint every day for about seven hours. I treat it like a job, I go into my studio and first do quick five minutes sketched on either scrap paper or a sketchbook, I have many, all with different types of paper. This process helps me loosen up, stretch my fingers and arms. It calms my mind so I can focus.

Every artist is different as to how they start their day. We all at some point try to get into the zone and rhythm of whatever we are painting or drawing.

If you have got this far in my first post, thank you for sticking around. I hope it helps anyone who is thinking of doing this type of art or interested in having a portrait done of their furry pet!

Do leave a comment and I will answer any questions you may have, no matter what it is.

My next post will be some of the tips and tricks that I have learned that may help you in whatever subject you are going to paint!