Posts Tagged ‘art’
hills and harbours 7-9
One advantage of a virtual cycling trip – a day like today is not exhausting in spite of steep roads. Visiting the city of Looe involves biking from the higher land around St. Martin, down into the valley where Looe is situated. Leaving Looe means biking up a very steep hill until you reach the high land again.
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Looe is from a Cornish word meaning ‘deep water inlet’. The River Looe divides the town into East and West.
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The town is a busy port. Life seems to be centered around the river and the bridge crossing the river …
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Sail boats anchor just off Quay Road …
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It can’t always be fun to live at the base of a steep hill …
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Best View: a composite of two places on West Looe Hill … a garden of shrubs and ferns …
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and a view of a quaint stone stairway …
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I think they blended well into a single painting …
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Copyright 2013 Jane Tims
on the beach at Millendreath 7-8
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On Day 8 of my virtual bike trip along the coast of Cornwall, I did three watercolors of the countryside. I can’t keep this up, but for now, I am enjoying learning about watercolor technique. My plan is to practice, using the scenes of Cornwall as my inspiration, and later, do a series of watercolors ‘en plein air‘ in an area of New Brunswick I know well.
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I began my biking in Millendreath on the beach looking toward Looe Island. I love the band of red seaweed, left by the waves at high tide. My waves need work – I have tried leaving white space and then highlighting the areas later with Titanium White, but this does not allow for splashy detail in the waves. I plan to try a product called ‘resist’ – it keeps small areas free of paint until it is removed. The name Millendreath sounds like it comes straight from the Lord of the Rings …
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In St. Martin, I passed by the Parish church …
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On the high land above Millendreath, the scenes are of distant hills and fields …
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Copyright 2013 Jane Tims
along Looe Hill 7-7
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Looe Hill (pronounced to rhyme with ‘who’) is probably the most magical, interesting place I have discovered so far on my virtual journey. Much of the length of the road is a narrow path between high banks. The overhanging trees must create a microclimate where wildflowers and ferns thrive …
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More open sections of the road show the steep terrain …
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Best View: leafy tunnel on Looe Hill … I like this watercolor, especially the ferns, done using a dry brush to pull color from the fern shape, and the way the light varies across the painting …
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This image provided the inspiration …
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Another magical view was of ‘caves’ created by the overhanging vines. I made two attempts at this … the first was a disaster. I like the second attempt (below) but it fails to capture the ‘caveness’ of the view. I like the vines, done by dipping the head of a carved eraser in the paint !!!
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This is the inspiration for the painting …
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Copyright 2013 Jane Tims
writing a novel – objects and symbols
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Title: unknown
Working Title: Saving the Landing Church
Setting: a writers’ retreat, including an abandoned church
Characters: main character Sadie, a writer; her husband Tom; people from the community
Plot: the story of how Sadie tries to win over a community in order to preserve an abandoned church
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If you are new to following my Blog, you may not know I have been writing a novel since last November. If you have followed my Blog for some time, you may be wondering if I have abandoned my novel for the world of watercolor painting – not so.
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I am on Draft Six. I have taken the comments of my readers and members of my writing groups to heart, considered them carefully and made many revisions in the Fifth and Sixth Drafts. I have also paid careful attention to three workshops I attended on writing fiction.
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One of these workshops was exceptionally thought provoking, teaching me to look at elements of my book in a new way.
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Our instructor at this course suggested we pay particular attention to the objects mentioned in our writing. Mentioned once, an object, such as a table, is just a table. Mentioned twice, it becomes a symbol, and the reader remembers the first mention of the object and draws understanding from the symbolism. So a table may be remembered for the people siting at it and the subject of their conversation. Perhaps it becomes a symbol for family, for example. If, in the second mention, someone breaks the table by putting too much weight on it, this may make a comment on the idea of family in the story. By breaking the table, the family may be damaged or broken. The use of symbols deepens meanings and helps the plot reverberate throughout the writing.
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The instructor also said that symbols operate like mini sub-plots throughout the story. These mini-plots echo the main plot, and the objects change in a way that illuminates the main plot. The mini-plots also tend to occur in three ‘beats’, providing a beginning, middle and end. For example, the table is bought at an auction, broken and finally mended.
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In this round of edits, I have tried to examine the use of symbols in my novel. To do this, I built a list of the objects I have used as symbols. Then I looked for their occurrence in the novel to see if I could identify three ‘beats’ and a mini sub-plot. In some cases, I identified gaps – fixing these has helped me to solidify my overall plot and improve the understanding of my readers.
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This is a short version of my list of some of the objects/symbols in my book. When I assembled the list, the items in red were missing and I had to fill out the story accordingly. Perhaps you can use this method to help strengthen the narrative in your own fiction.
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| Object | Symbolism | Occurrence (Chapter Numbers) | Mini-plot | ||
| long bench | togetherness | 11 | 21 | 23 | bench moves from private to communal space; people start working together |
| stained glass | relationship between sacred and secular | 1 | 9 | 23 | stained glass window breaks and is repurposed; the sacred becomes the secular |
| lych gate | death | 1 | 9 | 20 | lych gate falls into decay; fear of death is no longer the driving factor in a family |
| red shoes | respect | 1 | 9 | 21 | community’s view of main character is altered |
| minister’s collar | mentorship | 1 | 15 | 21 | although he leaves the church, a minister grows as mentor to a family and the community |
| blue plastic truck | secular within the sacred | 3 | 11 | 21 | a plastic toy becomes an object worthy of protection; the secular becomes the sacred |
| Jasper the dog | companionship | 8 | 16 | 19 | a new dog helps build a family |
| air fern in a swan vase | ability to change (a sea-creature poses as a fern) | 3 | 8 | 23 | something unwanted becomes valuable |
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Jasper the dog was a late addition to my novel, but he opened up so many story possibilities, I’m glad he came to be one of the characters
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Each time I add something new to the narrative, I have to make other edits in consequence. However, I find these changes are worth the effort since they contribute to building the story.
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Have you considered the use of objects as symbols in your writing?
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Copyright 2013 Jane Tims
Downderry by the sea 7-6
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Downderry is a charming town, tucked beside the sea …
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My virtual memories of Downderry will be of stone walls …
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hillside gardens …
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and a charming red brick church …
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Best View: a lilac in front of a white house …
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and a Horse Chestnut tree beside Downderry Church …
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Then, onward to Seaton and a backward view at Seaton Beach from Looe Hill …
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Copyright 2013 Jane Tims
watching for dragons – on paper
As you will know if you follow this Blog, I have been learning to work with watercolors this summer. So far, I have painted from views associated with my virtual adventures in France and England. But today, almost against my will, two dragons popped out on the paper. They are also determined to appear in this post, so here they are, along with a dragon I did in soluble colored pencil back in May.
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Copyright 2013 Jane Tims
along a Cornwall road 7-5
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Today’s virtual biking trip took me toward the town of Downderry, along narrow roads lined with Western Gorse (Ulex gallii) in yellow bloom. Gorse grows on sunny sites with sandy soil and is common on the heathlands along Britain’s Atlantic coast. Before my virtual trips to France and England, I had heard of gorse but had never ‘seen’ it …
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I saw a few farms along the way …
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and horses in a green pasture …
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Best View: farmstead not far from Downderry … my skies are improving, don’t you think???
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Copyright 2013 Jane Tims
painting my way along the Cornwall coast 7-4
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One of the things I like best about my virtual journey along the Cornwall coast – the names of the communities: Crafthole, Portwrinkle, Freathy !
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Today, I drove through Portwrinkle along Finnygook Lane.
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Here is an interesting sequence of photos and a visual commentary on the width of the roads. First, I see a truck coming toward the Street View car …
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Then we squeeeeeeeze past …
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I look back and I don’t see any indication we did pass (no tracks in the shrubbery for example) …
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And, I was so busy trembling over passing the truck, I almost didn’t see this door in the side of the hill …
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Best View: houses in Crafthole …
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I am having fun trying to understand painting with watercolors. I have always worked with oils or acrylic, but watercolors are quite different. I love that the colors have a mind of their own. If I allow the colors to go where they want to go, sometime the surprises are wonderful, sometimes, not.
I am trying to use less paint, more water. This improves transparency and gives a fragility to the painting.
I am trying to clean my brush well and to freshen the water more often. This prevents ‘muddiness’.
I am also trying to leave more white space. This provides white ‘color’ and space for adding color as the painting progresses.
Here are two attempts at painting houses in Crafthole. I include the original image so you can see my inspiration. As you can see, I used lots of artistic licence.
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In #1, I like the scaling of the houses, the houses in the background, the gardens, the pinkness of the wall, and the grey house … I don’t like the windows …
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In #2, I like the chimneys, the red door, and the background houses … I don’t like the windows however I think these houses have personality in their ‘lean’…
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Now, what do you think of that door in the side of the hill ??????
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Copyright 2013 Jane Tims
farms in hidden valleys 7-3
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Gradually, I am learning the layout of this part of the Cornwall coast. The uplands are mostly devoted to wild land or agriculture (grazing or crops) …
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The houses are either along the coast, at the very edge, or in the treed valleys that peek at intervals from the countryside …
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Driving down into these valleys, I find farmsteads, made up of clusters of buildings and usually associated with water …
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Cattle must stray into the roads on occasion. The entryway of the house below is guarded by a ‘Texan Gate’ or ‘cattle stop’. I am familiar with these from my days in Alberta. Cattle will not cross these gates because of the spaces in the surface, but cars can cross quite easily …
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Best View: the Cornwall coast stretching before me …
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Copyright 2013 Jane Tims
Paper Birch
In the last five months, I have been learning how to paint with watercolors. I’ve painted with acrylics for some time, and I love to draw with pencil, but watercolors always seemed daunting to me.
If you are a follower of my Blog, you will know my early attempts at watercolor have been of views from my virtual cycling trip in central France and on the Ile de Ré. I have also done some studies of New Brunswick wildflowers.
Among the subjects I found fun to paint on Ile de Ré were the vine-covered trees that grow along the road.
This week, on a trip to see our camp, I studied some of the characteristics of Paper Birch (Betula papyrifera Marsh.), a tree growing everywhere on our property by the lake …
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Some of these trees are actually Mountain Birch (Betula papyrifera Marsh. var. cordifolia (Reg.) Reg.), a variety of the Paper Birch. This variety is quite common in eastern Canada. Its distinguishing characteristic is the heart-shape of its leaves, especially at the base of the leaf.
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The bark of the Paper Birch and Mountain Birch is predominantly white, although parts of the tree can be yellowish or quite black. Its bark strips readily from the tree, in sheets, leaving a reddish-orange inner bark which turns black with age …
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To paint the birch, I used Painter’s Tape to mask the trunks of the trees. Then I painted the background. Once the background was dry, I stripped the Painter’s Tape away and added the bark details in the white space left behind. Here are three paintings of Mountain Birch …
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Copyright Jane Tims 2013



































































































