And now, something completely different

New Wrappers Progress - about a week in I would guesstimate

Dear constant reader (if I could be so bold as to borrow from Stephen King),

I fear I've let you down. To date, updating the blog has been last in my social media priorities list, and by the time I get to it, I really just want to get back to painting, and so I tend to just plonk all the photos down and get out of here. But I do realise that I'm supposed to be giving you a little more, a bit of myself, that you can get to know me, as opposed to just seeing paintings. So, instead of attempts to sound like an artist, I'll give you some of me.

So very regal

Which I'm sort of forced to do, as sir Cat Stevens (aka Skapie) refuses to give over my painting throne today. He has this new quirk where he actually sits on laps of his own accord, but only when it's the worst timing, like when you bladders bursting, or when you're on a painting high.. and then he sighs and twitches his ears wildly in irritation, because you dare to move when he's clearly trying to sleep. 

On the easel: Another wrappers painting, I finally finished my second Madiba drawing on tuesday, but I'll upload that on another day. This poor painting has been waiting in the wings since the commission came in, so today it gets all the attention.

In my cup: I'm on a Mugg and Bean filter coffee today, but I actually tend to buy different coffees every time I shop, just to keep things exciting (living on the edge). The important thing being that it's brewed in my little stove-top espresso kettle, and not plunged. In my favourite blue mug, that everything tastes better in, and that I love so damned much that I bought spare one, for when my husband or I inevitably dropkicks it into despair. 

*Note my teeny tiny little herb garden, which the jerk of a cat who breaks in now and then always kicks into the sink. And the fact that my Reeves titanium white snuck into that mug picture, it IS my favourite white paint, and definitely deserves a mention!

In my mouth: Nothing, sadly. I've half a mind to make an omelette, but the pan is a dirty mess, and I'd rather be doing anything than the dishes. (although I'll probably do them before painting, since my fingers are freezing from typing!) I had a corncake (like a ricecake?) with honey and cheese, but it was nothing to get excited about.

On audio: I'm on Ship of Destiny - The third Liveship traders book by Robin Hobb on audible - thanks to one of the greatest birthday gifts of all time! My brother gifted me with a years worth of credits on Audible, and even though I still have until November, I'm already depressed at the thought that this is not normal, it will have to stop, and I don't want it to.

Robin Hobb is some kind of amazing though, I have been on a Stephen King high since mid 2013 somewhere, and she is the only author who could drag me away (kicking a little) so much so that I'm listening to one series, while reading another on paperback. Also, the books are exciting enough that on the mornings that I just don't feel like sitting down to paint, the thought of starting another chapter while painting is actually good incentive.

On my mind: My article in Acrylic Artist magazine. Which I haven't seen! The magazine is out, so please go buy one if you're abroad, but I haven't seen it since it isn't on sale in South Africa, and I'm still waiting for my copies to be shipped! 

It IS very exciting though, my first real publication, and it's a feature article, so holding thumbs that the right people see it. 

And so, I'll leave you with a couple of links, if you dare:

A little taster of the feature article on the ClothPaperScissors Blog: 

http://www.clothpaperscissors.com/blogs/clothpaperscissorstoday/archive/2014/05/14/one-thing-she-doesn-39-t-have-to-worry-about.aspx

And some of the images NOT featured in the article:

http://www.artistsnetwork.com/medium/acrylic/kleynscheldt-still-life-gallery?lid=MGaahp050914

And as always I urge you to like my facebook page, even though it's a silly place, and facebook doesn't allow anyone to see anything anyone posts! Do it for me! :D

https://www.facebook.com/kleynscheldt.art

And one of my favourite places on the interwebs, BEHANCE! I can lose days browsing. Go there, and give a couple of appreciations, us artistic types thrive on that kind of attention.

https://www.behance.net/marike

That's all for now, have a glorious weekend!

Candy Wrappers

or

The art of Painting

'For the first time since some of my earlier Marbles paintings, this image lends itself to 

intuitive painting; I can choose colour instinctively and without over-thinking it, 

apply strokes where they want to go instead of my eyes being nailed to the reference photo.'

That was my facebook update while working on the painting. 

This is the most fun I've had with a painting in months. It is the painting I was meant to do now, to remind myself why I love doing what I do. I wasn't planning on a very realistic end-product, but I didn't plan anything really, I just worked on it until I became somewhat precious about it, and then signed it. And that's exactly how I plan to approach the next one. 

progress I

progress II

progress III

progress IV

Candy Wrappers
50 x 70cm
Acrylic on Canvas

The Herbst's Floral Commissions

Ina had been telling me about her parents' love for art and their collection for years. And there had been talk about me possibly doing a couple of paintings of flowers from their garden for a while. And with a while I mean about a year!
When suddenly (and with immaculate timing, as always) I receive a whatsapp message from her husband Daneel, saying that Ina's parents had actually visited one of the galleries that show my work that weekend, and had almost done an impulse buy, but finally decided to rather commission a painting directly from me. They gave me their budget and we narrowed it down to one painting of the 'Aasblom'

I made peace with the fact that the patterns would drive me mad, and set to it.

The trickiest part of this painting was plotting out the patterns, they didn't need to be exact, but I wanted it as close as I could get anyway. And then achieving a semblance of depth, which the patterns made really hard. So the part of the 'in progress' that doesn't really show up on the photos, is the subtle tones I added, yellowish becoming greenish, maroons becoming purply, etc.

Orbea Variegata (aasblom)
70 x 90 cm
Acrylic on Canvas

Detail

 I sent them updates on the progress, but decided to surprise them with the final product - as the paintings are rarely done justice by my photography, and they just don't show up as well as I'd like on-screen. Also it's incredibly gratifying to see people's positive reactions, after having worked so hard! And that decision paid off! We delivered the painting to their home, had great coffee and chocolates, and talked art.

I should actually write a different blog about this conversation, but due to time restraints I'll just say this: I learned so much, just sitting there and listening to their stories about where they had acquired different paintings in their collection, and how much the individual paintings meant to them. To the Herbst's, it's not about collecting for the sake of investment, it's purely just for the love of art. And it made me so proud to be a part of that collection, I practically shone by the time we left.

Of course the conversation had turned to gardening (as it does) and I'd told them about my jealousy towards their gigantic and gorgeous protea bush, especially as I'd already murdered one protea plant in my short gardening span, and am working hard on killing the 2nd. And so Mrs Herbst miraculously appears in the door on our way out, with a lovely bunch of proteas for me. 

I of course joke about painting the proteas next, as I hadn't decided what was next - a singularly terrifying spot to find myself in - and they agreed. Later that night I receive an email from Mr Herbst, thanking me for the painting etc. and adding, I could paint the proteas if I wanted, just to do them a little smaller than the Aasblom, as they're running out of wall space!

I wasn't really planning on painting the protea next, I just photographed it soon as I had a minute, in case they didn't last long (super-duper heat waves). But then I of course bought a canvas for it when I did my paint supplies run, and I printed the image when I printed my next reference photos, and then it kept glaring at the back of my head, demanding attention, until I just HAD TO put that work in progress on the sidelines, and start on the flippen impatient protea. 

Which turned out rather well! And it was complete in a week, thanks to the size and just luck I guess.

A single Protea
30 x 40cm
Acrylic on Canvas

*I have no idea what's up with my tenses, it just happened and I went with it!

* Also I've no idea how that terrible crop of the bunch of proteas happened! Wow.

Olives and Pomegranates.

Sieglinde se Sewe vrugte van Israel (commission)
100 c 60 cm
Acrylic on Canvas

This year kicked off with a commission - the best way a year can kick off!
Sieglinde and her husband Johan previously bought one of my favourite paintings, the Pomegranate still life, and decided they needed another piece to accompany it. Being devout Christians, the pomegranate had lovely symbolism for them. The second piece was to be a commission of the seven fruits of Israel - the verse they gave me was Deuteronomy 8:8 - 

'a land of wheat and barley, of vines and fig trees and pomegranates, 

a land of olive oil and honey'

The instructions were simply to use wheat, barley, pomegranates, dates, figs, olives and grapes in the composition.
I very much looked forward to doing the painting, and was mostly daunted by trying to find all the components at the same time to photograph (I have no idea when anything is in season). But I accidentally ran into some figs one day while grocery shopping, and I had to continue the search - with complications such as struggling to find dates, because I had no idea what they looked like!)
After the initial stress of photographing the fruit and finalising the composition, the rest was a breeze. The painting just came together, and I really enjoyed the way all the tones echoed each other: the tones of the green olives repeating on the figs, the stems of the grapes, the pomegranate and even the wheat. All the components seemed to have little samples of colours from each other, and the tricky thing was to use the same shades in everything, but having different overall shades to each fruit.
Sieglinde and Johan were dream clients, being excited about the process and being a part of every step, sending me short emails just to say they couldn't wait, and that really affects my attitude while working on the painting. (also, and this may be a little crass, but it needs to be said: having clients who pay on time, and don't guilt trip me about prices is INCREDIBLE, and I hope this sets a trend for future clients!)

Their first purchase: Pomegranate still life
76 x 61 cm

Since we don't actually eat olives (the rest of the fruit I finished off before even starting the painting) and since they were so beautifully shiny in the Seven Fruits painting, I thought I might as well re-use them for the next still life. Well that and (not knowing when anything's in season can really be a problem in my field! I might have to look into that..) I was planning to do a still life with cherries and a goblet, but when I wanted to start cherries weren't in season yet, and by the time I was done with my commissions they weren't in season any more! (you see? definitely a problem.)

 SO. Olives and a goblet.

Shades of Olive (available)
70 x 50 cm
Acrylic on Canvas

Which turned out rather nicely I thought. We bought this goblet at a tiny little 2nd hand store in Durbanville, and it actually says 'UPINGTON 1984' on the side, but it was so shiny, it had to be mine. I stole (was gifted?) the little copper bowl from my moms, it always stood on the mantle at our house when I was growing up, and it used to be my job to clean and polish it. AND the bowl was featured in another favourite painting, 'Vanitas with Cherries' which is owned by good friends of ours.

The afore mentioned Vanitas with Cherries (SOLD)

And so we come full circle, as the painting I started on this morning is once again a Vanitas of sorts. Updates to follow!

2013: 

A brief summary

Officially back in the studio today - even though I never really left - this only means I'm replying to emails that I didn't get around to last week, and I actually got up early today!

In 2013:

  - I produced more work than 2012, and for the most part on a much larger scale

  - I actually entered two art competitions (to no avail)

  - Painted my first portrait in years 

  - Only participated in two group shows :(

  - But also became represented by an awesome new gallery, who sold a record number of my       work in the first month

  - My paintings and I almost appeared on TV! (this has to be mentioned, it's just too big a deal         not to!

  - I started drawing again

  - I received almost 3 times more commissions than in 2012

  - aaand I lined up some awesome things for 2014

All (except one) of the works I produced in 2013

 Except for the one incomplete leftover from 2013, this is what I produced in 2013 - and the incomplete is for my own wall, so it will doubtlessly be incomplete for quite a while!
Red 'stickers' indicate sold, NFS or commissions.

Work from 2010 and 2012 that sold in 2013

Moving on, I'm quite excited for 2014, I'm already working on the first commission of the year, (with a  couple more in the wings), sold two paintings at Everard Read last week, and got very exciting news over the weekend (nope, not pregnant) which I'll share as soon as it's finalised.

Last monday I was nervous about this year, and then everything started falling into place.

That's all for now, I've spent more time in front of the screen so far today than I have in front of my easel, so I'm off! 

Nelson Mandela: 

A tribute to our Madiba

525 x 380 mm
Pencil on 160 gsm untextured paper

More or less on the heels of the Einstein Commission, I was asked to do a drawing of Madiba. However before we had even decided on the photo, the legend passed away. Which gave the whole process a very serious air - this had to be more than just an accurate representation of our late president, it was to be a tribute, lovingly rendered and thought upon, with my main goal to capture his compassion.

This was the biggest drawing I'd ever attempted, double my usual A3 size, and as such I was looking forward to it, but also quite nervous. Usually the details are small enough that I can improvise to a degree, but in this photograph every line and pore was there, and had to be accurately depicted. It took more patience than I thought I had, but was very much satisfying in the end!

Guide sketch

The second attempt at the eyes - the first were so nervously drawn that I had to start over, 
wasting the first evening of work completely, and making me quite nervous!

Progress

Progress - (the unsightly cardboard added to my easel for stability)

The materials

The apprentice

More or less done with the face, except for final touches

The second attempt at the hair, the first attempt
dutifully erased after another wasted evening of work

Detail

Detail (and my favourite part of the drawing, the upper lip)

Detail

Detail

Detail

I struggled to avoid a little smudging while working on the jacket, but only the
guide lines were smudges, none of the final pencil strokes!

Complete!

(edit) Proud owner Roan van Vuuren after the delivery!

Einstein

 And his spectacular jersey

A couple of my friends (or rather two of my friends, who happen to be married) have been captivated by my drawings for years - and pull faces every time I mention that I probably won't draw anything again soon; I had in fact given up drawing to paint 6 years ago, haven't picked up a pencil in all that time, and why would I?

Well I would, if commissioned. And so I was. (2007 Marike would be so surprised)

Ina's parents love art, have been collecting for years, and own a couple of beautiful specimens. And she's been telling me forever about their love for art, and how they'd most certainly love my work, etc. And so, with her dad's 60th birthday coming up, I was called upon to immortalise (as many have done before me) classic Einstein (as opposed to sticking-out-his-tongue-Einstein)

Naturally I stalled for quite a while, having not attempted a drawing in so long, I had no idea whether it would come to me easily, I'd forgotten all the tricks, I even had to stock up on pencils, putty erasers and even paper from scratch (initially buying a whole pad of the wrong paper of course - terrible yellowy textured stuff, impossible to even hint at detail on)

And my time away really showed, I started out drawing the eyes, and having done that, had no idea where to go from there, how do you work on the left side without smudging the right, everything was terribly unplanned and, well, unexpectedly fun.

The wonderful thing about drawing is the instant gratification, its there, its done, and you can move on.. when I paint there's none of that, there's too much to focus on, and I work in layer upon layer, sometimes having no idea how to move on, or how far any part is from completion, until it surprises me.

The drawing took a week, and I am quite satisfied with it - re-learnt many lessons, keeping the white bits white being the most important, planning ahead, and taking it slow (in painting I tend to think it's fine, I'll come back later to fix it, and that isn't always an option in drawings) 

The other thing I found out, was that during my break from drawing, a period of 6 years of continuous painting, I had really learned to 'look', I found it so much easier to spot detail, and figure out what to do where, because of the 6 years of improvement. I am an avid believer in (if you're going for anything remotely realistic) it being more about learning to look, than it is about learning to paint. The more you see, the more you can paint, if you don't see the different hues in skin tone, you can't paint them, and the more you see, the more depth you can create, the more detail you can add, the better the realism. (I know, it's not all about the realism, but let's not get into that today!) And I could immediately see the difference when I started drawing, it had just become so much easier. Almost a relaxing experience, after a painting. 

The reasons I dropped drawing for painting was - first - because so many of my friends (who know nothing about the art industry) told me that I'd never earn a living from drawings, the cash is in paintings - and secondly, and more importantly - I felt as if I couldn't really express anything of myself in drawings, I was possibly better (then anyway) at pencil work, but I was basically just trying to see how well I could copy a photo, and that's not really the artists way! In paintings there are so many ways of putting yourself in the work (not counting blood sweat and tears).

Since then however, the distance from my drawings has showed me that there is a style to my drawings, and while it will never take the place of my paintings, it isn't something I should be hiding from the world. And so, without any further ado, Einstein, and his lovely jersey:

He's a little smaller than A3 - as you can see, the sketch pad is A3, and it's 130 gsm paper - I'd have preferred something a little heavier, but I wasn't about to buy a third pad!