ShirleySheltonArt

Blue Horizon

noreply@blogger.com (Shirley Shelton) — Thu, 17 May 2012 13:43:00 +0000

Do you like abstract art? That was the first question I was asked at art college. Can you imagine what my answer was?

A big resounding...NO!

No, I didn't like it. I didn't 'get it' and like many I thought it a refuge for the untalented who seemed to indulge in something the proverbial child of ten could knock out.

How much our tastes change! Now half the paintings I work on are abstract or semi abstract. Why the change? I'll tell you at the end of this post...

Blue Horizon is a semi-abstracted sunset with an oceanic flavour thrown in. I've used copious amounts of acrylic texture paste as well as several glazes. These build layers, give depth and create both that swirling, tidal effect and the subtle variations of light.

I've used a variety of blues to compliment the bright oranges and yellows which give the piece an acute sense of colour and vibrancy.

So, why my change of heart regarding all things abstract? Two words; Jackson Pollock. I saw his exhibition at the Royal Academy in London and I immediately sold! Only when I saw those massive canvases in the flesh did I finally..get it!

Reflections of Antiquity

noreply@blogger.com (Shirley Shelton) — Thu, 09 Feb 2012 16:21:00 +0000

I must admit I love to experiment and try new effects be it in my painting or my photography. Well, a girl needs a challenge and with 'Reflections of Antiquity' I certainly found one!

Sometimes when I'm searching for inspiration (one of those duh moments) I find it helpful to simply put the breaks on and play. Allow the imagination some R and R to experiment and see what happens?

In this case I decided to play with a set of 12 inch wooden African figures which adorn my living room and I wondered how these might turn out via my flat bed scanner? If you've never used your scanner for anything other than documents then start doing so right now...

Much of the alchemy of such a project occurs in Photoshop and after importing the scanned images I began shuffling them, examining the possibilities and looking for a decent composition. After much trial and error I settled on the profiles, both figures facing each other with hands poised studiously beneath their chins.

I then imported a number of different textures, pasted these over the figures and fiddled with filters until I got the effect I wanted.

The pose seemed to evoke a certain Egyptian flavour and to go with this I downloaded some hieroglyphs (what else?) which I again pasted and adjusted using filters which with a bit of tweaking gave the impression of being carved into the stone behind the figures. Cool!

Once I was happy with the tone, levels and general composition I exported the image into Corel Painter. Photoshop can do just about anything but when it comes to brushes Painter is King! It has a formidable array of texture brushes and painterly effects which can really add that extra 'razzle dazzle' to any image.

The watchword here is experimentation. You have nothing to lose by really going for it and trying something new and indeed everything to gain. Using different methods and multiple programmes not only opens your mind up to new and exciting possibilities but I have to say there is a great feeling of satisfaction that comes from drawing together such numerous strands and tying then all successfully together. Great stuff!

Shirley

Solitary Bench on a Snowy Day

noreply@blogger.com (Shirley Shelton) — Wed, 08 Feb 2012 13:34:00 +0000

A bench on a cold day. A snow covered and solitary bench in a park as the whole county reels under the grip of cold weather...

The solitary bench is a subject often captured by photographers with a far keener eye than mine. But it's a subject begging to be approached again and again since it can symbolise so much or conversely mean absolutely nothing?

Real life often fails to deliver the requisite drama to a shot which is why black and white or sepia are especially good at conveying a mood of isolation. By subtracting colour we are required to engage the image in a completely different way and with a whole array of different emotions.

Photoshop again fills in where real life can't by producing the snow falling effect. Photographing falling snow (like rain) can prove very difficult and the end results hardly resemble what our infinitely more adaptive eyes can perceive with ease. In this case once I'd desaturated the image, tweaked the levels and was happy with the tonal values I pasted a photo I'd taken of shingle over the top. Applying the 'hard light' filter removed the dark background enabling the shingle to stand out as an effective substitute snow.

You can the effect by comparing the original (bottom photo) with the digitally enhanced one (top) That's showbiz!

The empty bench. Symbol of solitude and captured in a million black and white pictures of parks filled with leafless trees yet void of colour and people. Lonely images. Cool images? Images that sit well with our modern tendency to favour the bleak, the dark and the cynical?

Shirley

Sunflowers in a Blue Vase

noreply@blogger.com (Shirley Shelton) — Fri, 02 Dec 2011 20:37:00 +0000

Hmm, continuing on with the theme of Sunflowers (there's a pattern developing here) I offer a very different treatment from my last entry. In this case a portrait and though in many ways it's more conventional than 'Sun Scorched' it's none the less highly stylized and owes it's entire look to digital enhancement.

I was initially drawn to the shape of the vase and it's exotic design. I also felt the blues complimented the colours in the flowers and both co-existed nicely with the door as background. I especially liked the scratched, weathered appearance of the door (which, incidentally is to my garden shed) Note that the door as background doesn't detract from the main subject. Rather it's gnarled, aged surface contrasts perfectly with both the elegance of the vase and the fresh, organic forms of the flowers.

Again I used my Sony A350 and again a 90mm lens. I shot it in RAW (my usual preference) and after playing with the basic look and levels in Adobe Camera Raw I opened the file in Photoshop. This allows me a myriad possibilities as well as complete freedom to 'work up' the image intuitively. In this case I duplicated the layer, converted the top layer to black and white and then played with the filters until the image had the required 'stylized look I was after.

I think this image works well. It puts a different spin on what might have been a very conventional vase of flowers. It's balanced with being boring and has an interesting background that doesn't compromise the subject. Of cousre I'm biasd and proudly so! But as always, you guys do the judging.

Shirley

Sun-Scorched

noreply@blogger.com (Shirley Shelton) — Wed, 30 Nov 2011 20:49:00 +0000

Here's a piece of trivia for you. Know why sunflowers are so named? Well, because they belong to the genus Helianthus annus and "Helios" translates into sun in Greek. Hmm, now fancy that...

That and the fact they do actually resemble the sun (well at least a sun in a children's drawing) and their association with warmth, summer, Van Gogh and all we miss in these winter months..brrrrrr.

They also make for great photographs which is why they are so popular and why their image dominates the internet in countless clones of similar shots and why therefore I've felt the need to do something different. Don't get me wrong, I love sunflowers and I enjoy looking at them and I've loved painting them but if I'm going to put a photo of one on my blog I'd really like it to have a sliver of originality as opposed to the same old same as?

I took the original sunflower image this summer using my Sony A350 with a 90mm lens and edited mostly in Photoshop though I did add some of the textural elements in Coral Painter. Again this is a perfect example of experimenting with layers, unleashing their potential and with it your own creativity. In this case I simply stacked layers with different textures and after playing with various filters and getting the results I wanted I used the eraser to carve away unwanted elements. The text effect I created separately using free transform-warp then added it as another layer to the main image. Once I had all the elements together I tweaked the levels and adjusted tones and colour to finish off that fiery look.

I think Sun-Scorched resulted in a dynamic and interesting take on what could have remained a good but very 'bread and butter' photograph of sunflowers. As a painter I enjoy stretching other creative muscles and again with digital the potential is limitless. I mean really, there are no limits to what you can do and those purists who think digital manipulation is some form of artistic blasphemy obviously need to come into the 21ist Century pronto!

Shirley

Splish Splash

noreply@blogger.com (Shirley Shelton) — Thu, 24 Nov 2011 18:37:00 +0000

Ok, it's been a while since my last post but hey, life has a habit of intervening! Other projects and concerns fight for attention and before you can spell B-L-O-G....six months have past and not a word or a picture published.

Bad girl. Must and should do better? Fair enough. OK, I'll give it a go!

Hmm, Splish Splash just happened. No prior planning or product of commission. I was simply looking for something to compliment my living room, pick up the colors, echo the theme and generally indulge a desire to simply 'splash' a slab of my imagination onto canvas. No restraint, just gut, muse and possibly a slice of the id?

Splish Splash is abstract as I like it with color, texture and composition hopefully coming together in in a riot of extravagance. I don't deny it's personal and thus it's ability to please will be governed by your own taste. I've again used the diptych format which I always feel lends an interesting play on space and again the medium I've used is acrylic with acrylic gesso to build up areas of thick texture. The result (I hope) is a playful fusion of color, surface and a sense of perhaps 'controlled' madness?

I'm happy with the result but as always, you guys are the ones who judge and you either like or...you apply the big thumbs down!

Shirley

Dandelion Daydreams

noreply@blogger.com (Shirley Shelton) — Tue, 03 May 2011 17:02:00 +0000

So, how do you add sparkle to an otherwise 'ok' image? The two images above demonstrate the creative potential of Photoshop and the fact that there are always different ways of developing an images potential.

Dandelion Macro (above bottom) was taken on a bright day using a 90mm Sigma macro lens. OK, it's a good, crisp shot with a nicely blurred background and I suppose I could have left it at that. But is it original or in any way dynamic? Perhaps not. Alas it echoes a million such images found in galleries across the web. Nice, well taken photographs but with little to mark them out as being hmm...

individual?

So enter Dandelion Daydream or... the danedlion makeover...

When starting out manipulating an image like this it pays (unless you already have a firm idea) to be open minded and to go with your instincts. This allows you to respond to 'chance happenings' (or those wonderful little accidents) which ultimately gives your work a more spontaneous feel.

So I open my image in Photoshop and after a few tweaks to correct levels and tone I duplicate it in the layers palette. This is where the action is. Where the image will take shape and ultimately suceed..or not!

Oh and remember, Photoshop will not 'cure' a badly taken photograph. It is not a cure for sloppy practice and if you don't have a strong image then go away and practice more with your camera!

Next I selected a few textures to play with. You can find sites all over the Internet supplying an infinite number of wondrous and varied textures. Or (as I did here) you can create you own from anything your imagination cares to find. In this case I used a texture I'd conjured up some weeks back using shattered windscreen glass (like tiny diamonds) on my flat bed scanner. Try it. A scanner makes an excellent producer of textures weird and wild!

Using this shattered glass texture as a second layer in the layers Palette I experimented with the different filters until I found the one that gave me the effect I liked. Then it was a case of taking the layer in Photoshop's awesome black and white adjustments and simply (and intuitively) working until you get the look you like. Then I added a sepia tint, checked levels and finally sharpened until I had what I wanted!

As I 've said before, these are not supposed to be detailed tutorials but rather a peek at my working methods. A look 'behind the curtain' at my working methods. There are those who fail to be impressed by work created in such programmes as Photoshop (usually those who have no idea how it works) claiming either that it is some how 'false' or somehow untrue as a piece of art. Others simply think that it's 'computer generated' and that you simply 'push a button' and...presto the work appears! Both are ill informed and thus nonsense.

An artist utilises the technology of the day. The Impressionists in the 19th Century utilised advances in paint pigments which produced brighter more luminous tones than ever before. You don't accuse Degas or Monet of somehow cheating?

Photoshop is a tool which allows an artist to take their work to another level or to experiment in ways hitherto unimagined. Personally I find that incredibly exciting!

Shirley

A Hard Days Week

noreply@blogger.com (Shirley Shelton) — Sun, 01 May 2011 16:17:00 +0000

It's been a busy week (phew) with muggins (above in painterly mode) trying to be in a dozen different places doing a dozen different things..

Simultaneously!

But do I complain?

Well of course I do! But what fun would life be without it's challenges? Anyway folks, when I haven't been painting I've been photographing and when not engaged in either I'm glued to my computer immersed in the wild and wonderful world of photoshop. And when not doing that? Well, after all... a girls got to have a private life!

So, I hope you'll enjoy my subsequent offerings as much as I've enjoyed creating them!

Shirley

Labours Hands

noreply@blogger.com (Shirley Shelton) — Thu, 21 Apr 2011 21:01:00 +0000

'Labours Hands' (2011)

'His hands were his life. His livelihood earned turning wood or working stone. His hands the reflection of who he was and what he did. They were labours hands'

The power of black and white never fails to impress me. I barely considered the above image worth even editing in it's original, colour form. Yuk, too ordinary! Yet...strip away the veneer of colour and an indifferent image transforms into a powerful narrative, a story in a picture able to move or to suggest infinitely more than it's original colour cousin might ever have dreamt of!

Labours Hands belong to a man I've known many years. A craftsman and a softly spoken man of quiet pride and simple needs yet whose hands have fashioned innumerable riches. Only black and white could tell his story in one candid shot. Free of the distraction of colour the lines, cuts and abrasions are accentuated with a starkness that makes us look all the harder for it being monotone.

That's the power of black and white. The power to make us not only look but indeed to actually see!

Shirley

Beware 'Eyeballing' Sheep

noreply@blogger.com (Shirley Shelton) — Mon, 11 Apr 2011 21:00:00 +0000

'Eyeballing Sheep 2011'

and just to prove that we artists are not all pretentious, uptight and void of humour I present exhibit A in my defence!

An early stroll as the sun was rising revealed these strangely statuesque sheep 'eyeballing' me? Or was it simply me reading Stephen King the night before? Well, either way I simply couldn't resist 'snapping' such a scene?

Walla...The perfect screen saver!

Shirley

Repitition Is Good For The Art!

noreply@blogger.com (Shirley Shelton) — Mon, 11 Apr 2011 20:26:00 +0000

'Elephants Walking in the Dusk'

OK, commissions make up a large part of my painting output and since so many are based upon my most popular work there can be a tendency to....

paint and re-paint and re-paint the same painting over and over and...

Well, you get the idea. I'm sometimes asked whether I get fed up doing so many sunsets (especially the elephant ones!) but surpringly...

I don't ever tire of painting a similar theme simply because every brush stroke is a learning curve. I mean it! I've painted 'Elephants Walking in the Dusk' about a dozen times now and every single time I learn something knew about my art which takes me forward, which keeps me constantly aware that the more I discover...the more I know I've yet to learn!

Shirley

A touch of Gloom is Good?

noreply@blogger.com (Shirley Shelton) — Mon, 04 Apr 2011 23:46:00 +0000

'Containment'

Gravestones & Shadows

It's been a busy week of painting and photographing and listing images online etc etc huff-puff..phew! So, here I have two, what at first might appear to be rather gloomy, images taken over the last week. Both were taken with my Sony Alpha with an 18-200 mm Sigma lens and as always I shot in RAW.

OK, Containment started out as a typical study in texture. Barbed wire against a rustic post, all very visual etc. However, as post production in Photoshop developed so did the intention of the image. The red colour (blood?) was simply moss growing on the post but with a click of the mouse the mottled yellow became a dark red. Hmm, at this point I own up to adding what might look like a hand print on the post. Well, once I saw the wire and the red the rest just clicked. So many cues from every media outlets we see. The world of repression, imprisonment and indeed confinement. For the record I'm not a paid up member of Amnesty International and my art tends to veer well clear of political statements but sometimes folks...

The dots just join themselves together!

Gravestones & Shadows had an equally inauspicious beginning. It was a warm day, I felt like a walk and as I passed our local churchyard I was drawn more by the daffodils than by the graves, Still, I thought a shot or two might work? I did like the shadows but hey, it was mid afternoon, warm and bright. Hardly the recipe for Gothic despair!

That though, is the wonder of post editing in a programme like Photoshop. You take an image which (in it's natural state) is fairly routine and well..boring? And you work it up into something unusual and hopefully less eh..boring?

In this case I played with the tones in Adobe Raw before importing into Photoshop where I used some textured backgrounds in Layers. Cue a fiddle with the filters and presto..one image which explores life, death and our obsession with recording our passing,

or

You can enjoy it as a feast of texture, form and a play on light. There, you see, spoilt for choice over such 'gloomy' subjects!

Shirley

My Fantasy Flowers

noreply@blogger.com (Shirley Shelton) — Fri, 25 Mar 2011 19:25:00 +0000

I had in mind for some time the idea of doing a series of paintings featuring flowers. Not simply pretty petals and manicured border fodder. But rather…

hmm, flowers with a difference?

Well, we all like flowers (don’t we?) and I’ve always been drawn toward their infinite variety, transitory beauty and eh…flawless design. Dandelions are especially ephemeral. We’ve all held one up and…puff….gone, a myriad floating seeds. They are also quite visually striking, especially up close!

It was whilst looking at macro photography of magnified objects that I had the idea for this series. Close up, cropped images in a highly stylized manner. One of the great joys of being an artist is to take the familiar and by invention create a new way of seeing it!

The medium used here was acrylic paint applied in multiple layers with my favourite air-brush. This allows an even application and an effect of depth I really like. The initial design of the flower was drawn using masking fluid and so the paint covered the mask and once dry the mask could be peeled away to reveal the design below. The dandelion head was built up using a light impasto on top of acrylic gesso into which I scrapped and pushed the brush end until I had an effect I liked.

Painting like this tends to be intuitive and often comprise of a sequence of variations and 'lucky mistakes' (as Picasso called them) Together with trial and error you build up the painting with what works and discard (obviously) what doesn't. Thus, hopefully, you come away with a piece that both works as a picture and pleases as a painting.

Shirley

Your First Digital SLR - What You Should Know?

noreply@blogger.com (Shirley Shelton) — Thu, 17 Mar 2011 21:17:00 +0000

If like me, you're thinking about getting (or already are) serious about photography, whether as a hobby or maybe even as a line of work, one of the first investments you'll be looking to make is in a good digital SLR. There are a number of different makes and models (just a few!) and you'll need to make some careful considerations when deciding on the best DSLR camera for your needs.

What is a DSLR camera and how is it different to other digital cameras?

SLR stands for single lens reflex and describes the way these types of cameras behave. Light passes through the camera lens to a mirror that then reflects the light upward to a pentaprism or pentamirror - which corrects the mirroring of the image - before being reflected to the viewfinder. When the shutter is released, the initial mirror flips up to allow the light to pass through the shutter and capture the image.

SLR cameras allow for more accurate composition and colour balance in your shot, as what you see through the viewfinder is what you get in your final picture. They also have faster response times and allow for more control which means you can get more creative with your shots, such as focusing on different elements of the composition. Meanwhile, digital SLR cameras allow for digital capture so that you can review your images instantly.

Choosing your first DSLR - what to consider

Many makes and models of DSLR cameras behave in similar ways - but there are lots of variations between the types. Choosing the best DSLR camera for your needs depends on how you intend to use the machine - and the amount you're willing to spend. Here are some points to keep in mind:

Megapixels - these days, most DSLR cameras will offer substantial megapixels, starting at about 8 MP up to 24 MP or more. Having more megapixels generally means better resolution for large prints or when you're enlarging small sections of a shot. However, having more megapixels isn't the be all and end all for getting quality pictures. In poor lighting conditions, for example, your camera sensor can sometimes record the wrong colour tone for a particular pixel, creating "noise" in your photographs resulting in a speckled appearance. Professional photographers may prefer a higher megapixel count if their photos will be used in large prints, such as billboards, or if they plan on significantly cropping the image. Consider how you'll be using the camera and how big you'll be printing photos when deciding on how many megapixels you'll need.

Cost - Your budget will determine the type of DSLR camera you purchase. Remember that in addition to buying the camera body, you might want a couple of camera lenses as well. A good zoom lens, for example, will bring you up close to your subject while a wide angle lens will broaden your angle view and give you a unique perspective. You may also want to invest in camera accessories, including filters, a camera bag or even an extra battery to make the most out of your machine.

Speed - one of the most noticeable benefits of switching to a DSLR camera is the speed. A typical digital camera involves a bit of shutter lag (the delay between pushing the button and actually capturing the image). DSLR cameras are much quicker in their response time. If you'll be shooting lots of action photographs, such as at sporting events, then a faster model is a must.

Ebay or Amazon? - These can be particularly valuable places to pick up some great bargains. New or used DSLR'S can be yours at incredibly knocked down prices but remember to us caution and research any seller thoroughly before committing to buy. I bought my own Sony Alpha 350 off Ebay about a year ago for nearly half price. It was virtually untouched and it's been a great camera ever since I bought it. However, be sure to really research the seller and their feed-back before committing to buy!

Choosing the right DSLR camera requires some good old fashioned research. Ask for advice from friends and family who own DSLR cameras, or maybe borrow one for a weekend. Read photography magazines and check out web sites and blogs like Photography Blog for professional advice, reviews and updates on technology developments. Investing in a quality DSLR camera will really add a whole new dimension to your photography experience - so make sure you get it right!

Shirley

More Skies and Elephants!

noreply@blogger.com (Shirley Shelton) — Sun, 13 Mar 2011 18:49:00 +0000

I have my other half to thank for resurrecting this one! Believe it or not Red Horizon Elephants has been laying around my studio for the last couple of weeks simply begging for that finishing touch of…TLC (poor neglected thing!) Alas I was all too busy indulging my appetite for abstract and enjoying the delights of my Sony DSLR.

So hubby appears waving this canvas frantically under my nostrils with that…"Aren’t you going to finish this" expression! (Thank you Darling)

Hmm, well I have to admit that my first love is painting skies. Especially an African sky. Extra especially when it’s a scorching African sky acting as backdrop to those wonderful elephants.. So, it’s really quite a mystery as to how I could have neglected my creation for quite so long?... (Artists hey!)

I do love colour, that’s why African paintings have always held a particular fascination for me. I also love the sense of capturing the moment. You know, that one snap-shot in a moving sequence caught in an immortal stillness. I love that enigmatic sense of those innumerable possibilities? Anything could happen afterwards but we will never know? Only the frozen moment caught and held forever. I could gaze into that world and dream up any number of varied and unusual outcomes!

That has to be another of art’s great rewards…the joy of not just creating something aesthetic to gaze at but also to conjure up a world into which our spirit might occasionally wander when our mind tires of the daily grind.

Shirley

Cool Keyboard Tip

noreply@blogger.com (Shirley Shelton) — Sat, 12 Mar 2011 20:38:00 +0000

Flipping through the Reader's Digest superb '1001 Computer Hints & Tips' (I don't just read art books!) I noticed a clever little keyboard shortcut you might find very useful.

Instead of typing in the http://www. before the domain name, and the .com after it, just type in the site’s domain name into the address bar. Then tap CTRL and ENTER keys together. This adds both the http://www. and the .com and works in both Internet Explorer and FireFox browser. Well, anything to save a few moments in our busy, busy world!

OK, so it might not be for advanced webmasters used to all manner of code or javascript matters but
really folks, for most users, this is an absolute gem of a book. Tip after eye-opening tip. Magic!

Shirley

Macro Mania?

noreply@blogger.com (Shirley Shelton) — Tue, 08 Mar 2011 22:29:00 +0000

They say that a change is as good as a rest and as an artist (swamped by commissions) I'm inclined to agree. Much as I love painting there comes a time when the I simply want to....

Tear the canvas to shreds!!

OK (that felt better) So, as to the change in question? I again turn to photography and the joys of the macro lens...

The two images above (the Pink Camellia and the Honey Bee) were both captured last summer and have since residered as RAW files on my hard drive. Well, we artists do get waylaid! So, time to get creative and do something with them?

Both were taken using a Minolta 90mm Macro Lens in natural light. With the Pink Camellia I used shutter priority (1/160seconds) as there was a slight breeze and I wanted to eliminate any movement. The result gave a crisp image with excellent depth of field which I later reemphasised in Photoshop after a few adjustments in Abobe Raw. To make the flower stand out even more I partially desaturated the background and used the burn tool to darken the background tones.

With bee I got really lucky in terms of it sitting still. Now, Bees aren't usually so obliging when it comes to portraits but this one made his way into my conservatory during a cold spell last July and was left groggy or whatever bees get when cold? I found the hapless fellow sitting on the white sill (perfect background) perfectly inert. Perfect for me too! The light was excellent. cloudy, bright and beautifully defused by the frosted glass of the conservatory roof. A natural light tent indeed. Due to the Bees statuesque mood I was able to take long exposures resulting in a perfect capture. Except for a little post editing and a few light filters in Photoshop I did little else to it.

Now, I'm not a purest. I don't believe that as a photographer you somehow 'fail' if you need lots of post editing Depends on what you wish to achieve? I love the whole creative process whereby via camera and image editor I can create something that leaves me satisfied with the end result. Thus using Abobe Bridge, RAW and Photoshop are means to an end. They give a greater range to the artist. Not simply a quick fix for bad camera skills but an endless set of possibilities taking the boundaries of photography ever forward and yes...upward too!

Shirley

Photography:Skulls & Candles

noreply@blogger.com (Shirley Shelton) — Wed, 02 Mar 2011 19:42:00 +0000

I've been trying my hand (and lens) at subjects in low light and the wonderful effects (as with Mr Skull above) you can expect to achive with a little practise, a bit of effort and (essentially) the right camera!

Well of course painting is my first love, my passion and favourite child but photography has quickly won a very important seat at my table. Initially the camera was simply a tool. A device to capture my paintings for use online as well as my portfolio. Simply utilitarian? Well yes, until the time came when I started to think about producing high quality photo's. Then everything changed...

Q: Time then for an upgrade?
A: Absolutely!

I'll not labour the point here regarding my transition from functional point & shoot bod into DSLR enthusiast extraordinaire! (I'll focus on that journey in a future post) Enough to say that the difference between the two is like comparing a Mini Cooper with a Ferrari F50!

The effect with the skeleton and candle was achieved using my Sony Alpha 350 with a 90mm macro lens on a manual setting. The key is to experiment with long exposures whilst using low (off camera lighting) lighting (other candles or even a diffused torch will do) and not being afraid to explore your manual settings. OK, it can be hit and miss at first (very!) but you soon gain a 'feel' for your subject as your choices become more and more intuitive.

Of course it helps in post editing to leverage the full benefits of photoshop but the aim is to get as much right before opening your favourite Adobe editor!

Oh, the skeleton? It's one of those cheap little plastic efforts you usually pick up for a song during Halloween. In normal light it hardly looks convincing but with a little 'razzle-dazle' the possibilities are simply endless.

Shirley

My New Golden Savannah

noreply@blogger.com (Shirley Shelton) — Mon, 28 Feb 2011 20:26:00 +0000

Rain, rain, dark, damp and dim. Yep, it’s been a filthy, wet affair of a day here in Eastern England. Bother! And, what better antidote to our dreary British weather (yawn) than to immerse myself in the evocative colours of another African Landscape?

Golden Savannah is one my most popular commissions and I’m usually asked to produce it as a triptych. Which, if I'm being honest does show this composition off to it's best advantage (Don't take my word for it check out the link at the bottom of the post) However, on this occasion my client wanted a particular size for a particular wall and gee..I'm simply happy to oblige!

OK, Apart from ditching the triptych format all else remains essentially the same. Colour, composition and the central theme of Giraffes (gorgeous creatures) roaming and grazing the Great Savannah without a care in the world.

Again, I've used my airbrush here to apply numerous layers of acrylic paint. Acrylic dries quickly so I can thus build multiple layers at speed and create all manner of textural and colour effects. I wanted to make the composition 'burn' to create that sense of sizzling African heat. Hot, dry, arid and yet retaining that essential beauty and sense of the exotic. A perfect backdrop for such noble creatures.

Shirley

Golden Savannah Triptych Link

Does My Red Kiss Conceal an Atom Bomb?

noreply@blogger.com (Shirley Shelton) — Sun, 27 Feb 2011 21:11:00 +0000

Actually I’ve been immersed all day working on two entirely different abstract paintings. So, Red Kiss (above) was actually painted on Friday but such a chaotic chronology seems quite apt at a time when an extra couple of cybernetic arms(nuclear powered of course) would be a very welcome attribute!

So, Why Red Kiss?

This was another case of starting out with one idea and ending up (in a sort of round about way) with something quite different. I was thinking skies…something gestural with sweeping strata’s of cloud line. Yes, blues and bites of simmering yellow…bla, bla

But it all went a little

Umm… haywire? Off kilter perhaps!

Such accidents are the grist to the creative mill. My husband happened to stroll in as I was in mid flow and remarked that my efforts thus far resembled the atom bomb test just before the mushroom cloud had formed!! (Well thank you David for so acute an observation..Grrrrr!) Still we artist’s do long to make our mark and if not perhaps a nuclear blast then at least a reasonable splash!

But actually I did kind of like the A-bomb reference. It lent the project a certain gravitas perhaps found lacking in my original, and now it seemed, all too ordinary sky idea. Another sweep, a smear and the dab of a damp rag and it seemed a kiss had appeared. Most definitely an open mouth, a captured impression. Like lipstick pressed against a handkerchief?

When I was a child I used to lay in the park, look up at the sky and watch for hours as the clouds played their eternal game of change and shape shift. And I would form pictures out of those countless wisps and ever changing shapes; tapping into that eternal reservoir of unlimited potential. So, like wise as painters we so often find our ideas from simply gazing into the yonder of our imagination.

Catch you later
Shirley

Black Swan: Some People Think it's Real?

noreply@blogger.com (Shirley Shelton) — Thu, 24 Feb 2011 12:25:00 +0000

One recent story concerning film of the moment Black Swan certainly made me smile. A spokesperson for The Royal Opera House (which is staging its new production of Swan Lake) admitted;

"We have had people coming in and ringing up the box office to ask when Natalie Portman will be dancing in our production”

Now hold that thought will you. People, grown ups and hmm, responsible adults are actually ringing up to ask when they can expect to see a film actress performing Swan Lake!

Hello?..it's only make believe!

Now I absolutely loved Black Swan and I thought Natalie Portman’s performance was simply amazing. It was obvious watching her dance, the extraordinary lengths she’d been to and the formidable preparation she’d undergone to get her to such a level.

But (and this is the big but) at no time did it enter my mind that she was a real ballet dancer! No more than I ever considered Sylvester Stallone a real boxer? As wonderful as he was in the Rocky films I never once felt inclined to phone Madison Square Garden enquiring as to when he and Mike Tyson might be squaring up!

Still, people do have their funny ways and in this case it certainly left me wearing a massive smile!

Shirley

Blogging: Why Bother?

noreply@blogger.com (Shirley Shelton) — Tue, 22 Feb 2011 17:39:00 +0000

Well, why indeed? What merit blogging in a world wide web overflowing with a million narcissistic blogs chanting the mantra of me, me, me? Who’s interested in what you had for breakfast or what your favourite YouTube clip is? Well precisely..nobody really gives a ****!

or, so you might think?

But it’s amazing how interested people become in those otherwise irrelevant parts of your life once you’ve made a connection or tweaked their interest. OK, there’s a limit to the amount of interest but think about the fascination we all take in every little facet of our favourite celebrity? It’s just a question of degree. The more famous or the greater the connection, the more likely people are to be interested in you and the things you have to say or write about.

I’m not particularly famous but there’s every chance that the reason you’re now reading this blog is because you’ve either seen my web site or liked my painting or perhaps considered buying one and are now finding out a little more about me?

Whatever the reason, we have a connection. Tenuous maybe, but a connection all the same. Now you’re interested (to one degree or another) but it means you’ll read something from me which in a different context you wouldn’t give a thank you for.

But again to the question why bother? Well, for my part it happens that I simply enjoy writing my blog. Just as a million others in the internet void also enjoy writing theirs. What matters isn’t that most are destined to float in virtual oblivion, unread, unloved and overflowing in personal trivia.

All that matters surely, is that a lot of people out there get a degree of satisfaction writing them whilst a smaller number (any bodies guess?) get a degree of satisfaction reading them. Quid pro quo.

Shirley

Wheels Within Wheels

noreply@blogger.com (Shirley Shelton) — Thu, 17 Feb 2011 17:05:00 +0000

Wheels Within Wheels 2011 (Triptych, 20 x 16 inches each canvas)

Ok, so you might be wondering why I’ve chosen to paint a selection of Polo Mints mints floating in a rich chocolate sauce?

Could be I’m a crazed chocoholic?
Or…perhaps I’m endorsing a new product by Cadbury’s?

Well, that’s another story…. Actually it’s a variation on an abstract job I did a few years back called Wheels which was a cascade of fiery reds, opulent oranges and shimmering blue. In a word..colourful!

So I simply wondered (as one does) what it might be like to play with a similar composition but with a drastically different colour scheme?

So, away with the psychedelic hues and in with a visual fest of brown. Brown? But isn’t brown boring? Well no! Not when when you’re unleashing a palette of burnt umber, cocoa and succulent chocolate blended with burnt orange and seditious sepia. The possibilities are simply endless.

I used acrylic with my airbrush which allows me to build a series of fine, fast drying layers, creating depth and (utilising the canvases surface) some wonderful textual effects. I then used a tera cotta oil pastel (marvellous things) to both highlight/define and add extra texture to the edges of the rings.

Again I used the triptych format which I think works really well with compositions like this. I like the various elements bridging the gaps between each canvas, carrying the eye across and around the painting.

Circles work well in abstract. Both visually and symbolically they create interest, rhythm and a sense of movement. That makes them interesting and without interest you’re dead in the water. Or should I say dead in the chocolate sauce!

Shirley

The Selling Power of Colour?

noreply@blogger.com (Shirley Shelton) — Wed, 16 Feb 2011 13:39:00 +0000

Colour. We see it every day. We experience it all around us and unless you hang upside down in a cave or belfry it will certainly impact on your life. From the packaging of a myriad daily products to the ultra cool techno graphics emerging from our LCD TVs we are continuously bombarded by colour. So, why does colour affect us?

In an absorbing article on the Science Daily website it appears psychologists have been studying the effects of colour on our memory and how colour helps us to make sense of the chaotic world around us.

Quoting extracts from field studies conducted by the American Psychological Association the article described how test after test revealed that people's recall of information was far superior when presented in colour. Black & White images recorded a far lower recall rate whilst even text and numbers were better remembered when presented in colour. Attempts to confuse the test group by giving objects and landscapes 'false' colours significantly failed to work. People didn’t recall these false colours any better than the monochrome images. To quote co-author Karl Gegenfurtner, Ph.D. "It appears as if our memory system is tuned, presumably by evolution and/or during development, to the colour structure found in the world" he later observed that although 'ultra bright colours' might be used by designers to grab attention it would be the more natural hues that would linger in the memory. Interesting stuff.

So, is our appreciation of colour, say as with the example of the Mondrian painting above, equally influenced? Do we make our consumer choises based on say a more natural colouring on the package? I'm not completely convinced. There is much in the APA article that certainly rings true. Perhaps we are 'pre-programmed' by evolution to remember certain colours better. But what of the environment in which we have developed our senses? Or our natural creative disposition? There are surely too many factors in how our perception of colour and its relationship to the world around us works. Far too many to allow any theory to claim it has answered all questions posed. Still, that isn’t to say that this doesn’t remain a valuable, absorbing and eh ‘colorful’ subject.

Shirley

Welcome Back!

noreply@blogger.com (Shirley Shelton) — Tue, 15 Feb 2011 22:25:00 +0000

Well yes, it's been a while since I last posted! Hmm, enough to say that other things have grabbed my attention and drained my time. Still, that's life. Now I'm back (with a gleaming new blog) bursting to write and more eager than ever to keep all (any any) informed, interested and I hope..entertained!

So, please enjoy....

Shirley