Archives for posts with tag: digital art

Improvisation has begun on the painting I mentioned in this post.

Image transfer got to a point where I was satisfied and away we go…I’ve also been using improvised paper stencils to open up areas of the composition…more on this soon.

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To see more please visit my website: https://richardguest.art/ or my Instagram account:
@richardguest9440

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I’m currently working on this painting, which I’m toying with the idea of calling The Cacotopic Stain after a geographical area featured in a brilliant book by China Méiville entitled Iron Council.

The painting is based on a monochrome digital construct, which I’m transferring to canvas using acrylic paint and one paintbrush…

Once the image transfer is complete, I will improvise areas of colour and images on top. It’s a method I’ve adopted for the last couple of paintings. If you want to see more please visit my website: https://richardguest.art/ or my Instagram account:
@richardguest9440

It’s been a while, but last Friday I went out with the intention of taking some photographs in the street and dropping in on Tate Modern.

Whilst I’m always on the lookout for a potential portrait, most of my time is spent collecting images of splats, scuffs, drips and abandoned carrier bags to form the basis of a digital construct.

The following were all taken last Friday…

Solid fuel tank?
The Millenium Bridge from outside Tate Modern
Ocado waste

In Tate Modern, I decided to concentrate on paintings in the main displays. I’ve been familiar with The Three Dancers by Picasso for decades, but I’ve never really looked at the surface of the painting close up.

I found this area:

fascinating. I guess I’ve always thought of Picasso paintings springing into the world fully-formed, but he obviously had problems resolving this patch…

This was my first time seeing White Plane White, 1974 by Bram Bogart as well, but I’m glad I did…

White Plane White, 1974 by Bram Bogart

In one of the rooms housing a large sculpture, I found the following stain. It must have been quite a hardcore chemical to have bleached the stone floor like this. Anyway, I love it…

Stain
Stainscape
Sulba (I think)

The stain’s got me thinking…

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To see more of my paintings, street portraits and digital constructs, please visit my website: https://richardguest.art/ or my Instagram account:
@richardguest9440

In the process of backing up a load of files, I found this run of images. These are the working “drawings” for my painting December. They are in chronological order so you can see how the image developed over time (a month or so?).

All the photographic elements are things I found in the street or in shop windows. Who is that masked man? It’s a process of accretion and deletion…What to keep and what to throw away?

And here is the final painting…

SONY DSC

December, acrylic paint and watercolour pencil on canvas, 80 x 80 cm, 2018

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To see more of my paintings, street portraits and digital constructs, please visit my website: https://richardguest.art/

Painting in progress, plus plant

Work in progress (That’s How We Do Things #2) with plant

That’s How We Do Things #2 is one of two paintings I’m working on at the moment. This one is 80 x 80 cm. The other is 90 x 90 cm and I’m feeling the difference in scale in terms of the marks I feel I can make. Both paintings are acrylic paint and watercolour pencil on canvas and are based on digital constructs.

Also in the works: a series of hastily assembled limited edition books collecting sketches, photos, and writing…more info soon…

Sketchbook (book ideas)

Sketchbook (book ideas)

And a new online conversation with David Cook is on the way…we’ve been to visit a couple of new exhibitions…

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If you are interested in my work, I’m an active member of the Ello community (fantastically vibrant artist’s social media platform), and post regularly on Instagram. For an overview (and to buy a limited number of prints and paintings), there’s my website: https://richardguest.art/. In the spotlight this month December:

December, 2018

December, acrylic paint and watercolour pencil on canvas, 80 x 80 cm, 2018

There’s a wider selection of paintings and digital constructs available to buy on Saatchi Art and I sell prints and greetings cards on Etsy.

Sketchbook (Gambon detail)

Sketchbook (Gambon detail)

Cheerio!

Greetings Cards array

The Future Is Papier Mâché Press is proud to present a pack of five printed greetings cards. Each card features a digital construct by Richard Guest. Cards are left blank for your own message and come with plain white envelopes.

The five featured images are:

 

Each pack costs £10 + shipping and you can purchase them here: https://www.etsy.com/uk/shop/CityStories 

Mutie #1, 2015

Mutie #1, 2015 C Type Print

December’s Print of the Month is now available to buy here.

Mutie #1, is one of my earliest attempts to use improvised brushstrokes in a digital image. I began by painting in acrylic on paper, which was scanned into Photoshop and edited. The photographic elements come from street shots I took in London in 2015. I’ve chosen now to put the print on sale because I’m currently re-exploring this way of working.

 

Garden, 2015

Garden, 2015
C Type Print
297 x 420 mm

November’s Print of the Month is now available to buy here.

Garden was another step in making a transition from street photography to painting. It’s constructed from elements of street shots taken in early 2015. Garden will be available until the end of November 2018.

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Sparrowfall (II), 2015

Sparrowfall (II), 2015
C Type Print
297 x 420 mm

October’s Print of the Month is now available to buy here.

Sparrowfall (II) was one of the first steps in me making a transition from street photography to painting. It’s constructed from elements of street shots taken in early 2015. There are two versions of the image – this is my current favourite. Sparrowfall (II) will be available until the end of October 2018.

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Sketchbook 1st spreadAs a way of pushing myself to create images using different media, I am taking part in the Brooklyn Art Library’s Sketchbook Project. The eventual aim is to create a new preliminary drawing/ digital construct on which to base a new painting.

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One of the conditions I set myself was to make the sketchbook entirely visual (my usual practice is to write loads of notes). So far there has been a fair amount of back and forth between work in the sketchbook and using Affinity to manipulate images on my laptop.

You can sign up to the project, receive a blank sketchbook, fill it up and submit it to the world’s largest collection of sketchbooks here: www.brooklynartlibrary.com/sbp

brooklyn