Patterns, colour in memory

  • This is a sunrise on Lyttle Mountain

    This image is closer to my memory of a sunrise on the Routeburn Track, New Zealand, than photographs I took on that hike. It is a composite of two photographs. The colours of the foreground came from a photograph exposed at 1/30  of a second. The colour of the background  came from another  photograph exposed at 1/1260 of a second. I think what happens is two glances are joined in my memory. Colour memory is maleable and weak.

    The background colours for "Lyttle Mountain" came from this photograph

    The foreground colours for "Lyttle Mountain" came from this photograph

    This is the completed 18" x 23.5" painting.

     

    January 28, 2014
  • Through the Trees by Kent Crawford

    I photographed a creek running through the trees on the edge of a cut block. When I painted “Through the Trees”, I exaggerated the lines of the photograph to create angular patterns. Those repeating patterns help give the hillside a sense of steepness and movement.

    The lines form a repeating pattern of triangles.

    January 28, 2014
  • Cut Block no. 2 by Kent Crawford

    The cut block is an industrial pattern. These paintings show my tree planting work sites. I planted this cut block above Henderson Lake, Vancouver Island, in 1989. It is also an opening or a clearcut. To some it is an eyesore.

    Cut Block No.1 by Kent Crawford

    We also planted planted forestry blocks that were burned in the Canal Flats Fire. The Canadian photographer, Loraine Gilbert was on that crew. She photographed the landscape near our camp at 27k on the White Swan Main.

    Loraine Gilbert's photograph of the Canal Flats Fire

    Loraine Gilbert's photograph of the Canal Flats Fire

    January 22, 2014
  • Tangled Garden by J.E.H. MacDonald

    When I saw the mountains behind the thimble berries and fireweed that became the subject of my painting Thimble Berries, I remembered the Canadian post impressionist,  J.E.H. MacDonald‘s wall of blue purple behind his garden. I don’t think you can say there was a particular colour or colour combination that  post impressionists used. They took the Impressionists vivid colours and exaggerated them. They shared the idea that colour could have a meaning of its own or your own. I like the idea  that  colour has it’s own life and you respond to it.

    Thimble Berries by Kent Crawford

    These are the colours for Thimble Berries

     

    January 20, 2014
  • The apple Picker by Helen McNicoll / Alders by Kent Crawford

    When I saw the alder trees screen the light above Kennedy Lake I remembered the colour relationships of Helen McNicholl‘s painting, “The Apple Gatherer” c.1911. She placed high key cool colours on top of dulled yellows to describe the colours of the tree leaves in the shadows. This relationship is called discord. I use this colour pattern in my screenprint, “Alders”.

    "Alders" colour register and diagram

    The center of interest in “The Apple Picker” is the picker dressed in white. Purple is added to white in its shadows to compliment the yellow. A colour against its opposite hue makes the colour pop out. The white of the “Alders” sun is not pure, but has a few drops of purple in it.

    January 20, 2014