No noise, no wind, no air pollution. Stillness and perfect harmony, pure, unspoilt, permanent. So, are these blades of grass a few inches tall or monstrous 400 feet plants? The delicacy of the tops of these grasses, tipping over from the effects of gravity was an important part of controlling the line of the pen, one slip would ruin the harmony. Other subtleties include some blades tucked in behind some and in front of others. The ones most bent over never make it to the highest point and give depth to the top half of the picture.
This is, I feel the start of something new, not exactly accurately representing those far away interplanetary speculative visions, but a more thought provoking dreamy cast of somewhere new. The huge sun/planet dominating the sky can be heard thundering its way down towards the horizon. The detail of the landscape is not ‘tip top’ in effort and detail but feel I’ve represented a pretty well uncluttered space between outlying city structures and the great openness that I yearn for.
What would I have in a huge Georgian room with fantastic, surreal views over a twilight city? The immensity of the outside blends in with the solidity and central structure of these tall ‘rush’ like plants fanning out to the edge of the picture. Dreamily, two white on black background hawthorn trees were added, which throws the room into a different setting altogether. A truly calm, meditative piece pulling in ideas from other pictures such as ‘Into the Night’, ‘The Furthest City’ and ‘Perfect Grasses’. No elaborate technical drawing instruments were used, just relying on hand drawn guidance lined in pencil.
I felt I wanted to develop and increase the size of the town from the original moonstrike and to create a more substantial frame to give the picture more ‘focus’. The technique of constructing the criss crossing meteorite style white lines remained the same but the town resonates in the bottom centre of the picture with its tightly packed houses and churches dotted about, totally created from imagination.
I suppose I was taking the greatest risk here as once the fine 0.13 dots were started, there was no stopping. I had no idea of what intensity this ‘completed’ picture would have done. As I started it, it filled me with dread in the fact I could be putting in so many hours and possibly produce something quite weak. However, the subtleties of the various shading created by the dots leaves a lasting impression and is very gentle on the eye. Its very simplicity of walking through pea soup fog and getting ‘glimpses’ of clearer weather ahead – or will it just darken up again?
A ‘see what if’’ picture making up a bare tree from simple shapes. A challenge in itself was to keep this basic shape building structure under tricky situations such as branching out and one going behind another. The main central tree was initially drawn to be just by itself but the whole picture needed meat adding, hence the other trees and uniform landscape. The wavy patterns at the top can be seen in other works which do not actually lend itself to the actual subject matter. However, this addition gives focus to the whole works and describes my emphasis on control.
Really just exploring the day and night in an oval form, adding as much detail as the 0.13mm and my eyes would allow, including a mini version of the whole picture in one of the black parts. I’m not sure of the strength of the outcome as I do it, just enjoy the challenges of creating amazing shapes and patterns, enjoying the challenges one faces o getting it right first time, so plenty of accurate yoga practise, listening to the right kind of music and not giving up!
Working on the theme of the perfect grasses but just a snapshot of the mid portion of the blades, the background was dot shaded (took ages) getting progressively darker towards the top. Adding my often used planetry or Sun shere behind the blades is highlighted more by the dark shading. Like many of my pictures, its best appreciated close up so you can loose yourself in the imaginary forest.
Again picking the clearest of days, chewing through some serious walking on the moors of N.E. England, these abrupt beautiful chimneys beset the clear blue skyline. Their seemingly permanent addition to the wildness of the moors Exacerbates their relative focus of attention, so I have tried to captivate the mood by highlighting the chimneys as detailed as possible but adding the space of the sky and moorland beyond. There is nothing sinister about the history of these structures, which would have surely captivated 1000’s of hours of hard toil and low pay. The innocence is captured by giving the sky make believe clouds. This picture is a relatively accurist way to portray these structures, nothing appearing too cluttered or trying too hard to ‘add’ to the general scene. Purely a snapshot of what my mind told me to do after that great hike. Well away from reality, time, pressure and noise.
Carrying on along the similar lines to circular grasses and treeburst, this very simple pattern drawn to high detail can create this feeling of entering a time portal in space. 0.13 mm pens were used to draw the outline of the radiating wavy lines, allowing the best possible accuracy in creating the individual waves. A 0.20mm pen was then used to infill so to create the solid black. This was one of the trickiest pictures to date towards the centre as any slight mistake would be easily spotted as the lines get thinner towards the centre.