PAINTINGS, PHOTOGRAPHS. – fencrest studio

WORKS ORGANIZED BY PROJECT with parent/(first/generative/beginning), original works – whether sketches, DRAWINGS, PHOTOGRAPHS, PRINTS, MULTIMEDIA SKETCHES, or PAINTINGS:

UNFINISHED and starting works

landscape:

MISTS

nonacademic. started spring 2019

photograph of misty lake,down the right-hand shore a dock can be seen, as a yellow line, the mist is a white very misty line, mist rising over mountains, and flowing towards shore. — Photograph. Mist with water (towards the rivers, towards the sea)

photograph of a water reflection with gold 3/4 and 1/4 blue on the right. Within gold, can see through to more colors, sand. The whole appears as though a figure.

FROM THE MOUNTAIN, AND A BIRD

Academic: islands in Squam and a bird — Academic with R. Weller – independent study: Islands in Squam and a bird; with sketch notation notes

pencil,watercolor sketch, ink color notation on the right, the eagle flew by myself and my two dogs while drawing, before the man with his group of children arrived. Some clouds in the sky, but there was sun.

RIVER TO FALL IN SUMMER

Academic: Sketch of lake dam, fall, in summer, with heron, and a dragonfly, blue ballpoint pen, and black pen, and watercolor — Academic with R. Weller (independent study): Sketch of lake dam, fall, in summer, with heron, and a dragonfly

CLOUD LINES, WATER LINES OF RIPPLES AND REFLECTION

Academic: Cloud lines and lake lines, a sketch in soft black pencil on white cotton paper — Academic: Cloud lines and lake lines, a sketch

WATER AND SAND- MUSSEL MOVEMENT

startsd sometime before or during 2014:

Print with yellow ochre pigment. (Academic with K. Ritchie, credit also to M. Price for instruction in use of natural pigments) , print.

ABOUT, A MAKING

Two buttons, one penny, a feather's shaft (calamus), a walnut shell, on dark background with iPhone shadow - on top of a larger photograph taken in late evening, when the moon was rising, through the trees, 2 days after a full moon (so, not quite round). — One author. Two photographs, one author. One photograph, one (in the manner of a) painting – two authors. Buttons and penny have eyes in common.

RAINBOW,RAFT, SWIMMERS:

painted sketch with mineral pigments partially by memory immediately after visiting the beach, using sketches as references, such as the sketch on the left. nonacademic. started summer 2006(? to verify).

RAINBOW BY THE CHANNEL:

sketch in pencil. non-academic. (used also for a digital photography montage made for an academic assignment, in an academic setting – much of the photoshop work was made at school, while learning some photoshop).

a digital sketch called channel sketch combining photographic collage with a watercolor. — sketch by S. Sniffen (non-academic)

THE DEER:

oil sketch, nonacademic.

BRIDGE AND TWO BOYS FISHING:

oil painting of covered bridge with fish, fishermen, and an American flag — Ameiurus nebulosus. Many Years Since. (nonacademic, Oil on Canvas).

This painting above was painted from a hill above the Squam River; down the hill could be seen the river that flows from there on past the old (flour?) mill and under what was a textile mill, through another pond, and on into a much larger river on its way to the ocean. There were numerous beautiful red flowers growing over the hill, flowers that as a child I knew as “Indian paintbrush” flowers, and now I am not sure of their name, but they do look like inverted tassels, and so a bit like a round paintbrush with bristles plateauing out, rather than forming a tip. I didn’t arrive at showing the beauty of these flowers in the sketch, nor that of the river, but this oil sketch interests me anyway. It was painted outdoors – I sat on the ground. The lines above the ladder I long wanted to make visually less prominent; they were painted in as I thought to attempt painting a ladder to climb to get a view from above, or a ladder connected to the earth to see the sky, however, I did not achieve this in a way that one can enjoy looking at for long in this sketch. Parts of the lines were there already, bits of light or color of or on the trees in the background, but those bits were connected by extra imaginary marks to form the ladder extension. I recall trying to photoshop some of those bits out, however, the above image I believe is an unedited image (not photoshopped). Go Botany and the Native Plant Trust identifies Indian paintbrush as Castilleja coccinea — scarlet painted-cup. The red flowers, however, might not be those. These are those red and orange flowers that also grew in the towns I lived in when a child.

FIELD ABOVE A RIVER VALLEY:

Academic (the print), workshop (glass painting from sketches for the print) and nonacademic oil painting sketch.

Print pulled from a copper plate etching. Academic with T. Driscoll.

Atop the hill in a field, the field in the foreground, a house with ell on the right down a ways but still on the hilltop, mountains in the distance, a bit of the river seen in the valley, clouds, notation of clouds from another drawing upper left, gold from silverstain. — a painting on glass made in the studio of Elizabeth Robbins , a glass artist located in Lyndon, VT, using a sketch made from a hilltop in Ashland NH , both non-academic work, and also considering sketches made in part for a printmaking class with Tom Driscoll

Painting on glass (stained glass), the left-hand glass panel of two

MAINE – THE ROCK

an encaustic painting in many vibrant colors, with a rose colored boulder at the edge of the ocean bay — Encaustic – Island Ocean View, and the great rose rock. Painted from a non-academic alla prima painting.

Egg tempera oil emulsion sketch that is a painting, in a red bole pigment, and manufactured pigments also. — Encaustic – Island Ocean View, and the great rose rock. Painted from a non-academic alla prima painting.

Portraits and Figures

OIL SKETCH OF A MAN:

Academic.
The painting on the left was and painted only when this individual was present (painted with a focus on shadows and light).

The painting on the right, is a digitally altered image of the original. Photoshop rather than paint has been used to add translucent layers. Something of vibrancy has been lost in the photoshopped image (on the right). Something though is also gained by adding final for the most part single-color layers to the image,, adding coherency, and for example, picking up the blue of the background.

Below, self portraits painted at home, however, academic as they were made for figure painting with T. Driscoll.

SELF PORTRAITS:

Here are some self portrait studies, academic homework assignments to paint self portraits for figure painting. Two from several studies all on the same canvas, but I’ve cropped and separated them. There are some strange shadows, but they must have been there close to as represented, as shadows and light.