Looking on a cold morning.

This morning. Part 2 of the Habitual Rules of Drawing.

The mountains lie quite naturally in the distance. Blue atmospheric perspectives.

 Blowing and bone cold.  Sun and air rising tints from the ground in cold recessive colours. Sharp cold flame and shots of sunlight across watering eyes.

A cry of the first hunting bird. Above, an impatient Emperor in an arch of tertiary blues.

Crack and crisp walking, hoar frosted old ghost snow drifting and the night time remaining dead.

See what it is my love. Watch as we walk.

Witch tree silhouettes broken against the water crystal prisms whispers from stuttering streams. How can you catch that?

Everything else but the moving, unfrozen water.

Paint the positive toned rock against the faster white negative streamed light.

Paint the earth, paint the sky, paint the dark undercurrents slipping away into legend made caverns.

Paint the tussocked foot catching grass punctuating a morning pallid colourless field.

Pin in your other language the black marked written birds in shouted fast flocks across a blank white blue paper sky.

Lay on the sun rising light water washes until the rich tone required is finally achieved in soft brush accidents.

Let no dark detail escape until the sun has risen fully. Until your face is shining wet. Until your eyes are wide awake to the landscape and look.

Until you turn the next page in your book and life moves into sharper pen perspectives. And detailed thoughts are written when I wasn’t there and you wondered my love.

Author's Note

One way to paint white water is to paint everything else but the white water. To see both the postive and the negative shapes as essential to the drawing.The painting is mine and is one of hundred watercolour Waterfalls in Britain. This one is Betwys Y Coed in Wales

Reviews

[roarke]

I've always been envious of those artists that wielded water color. It's exactly like you explain only you forgot to mention the deft magic of it as is evident in your painting. I'm a big fan of Edward Hopper, and he had his own way with watercolor.

I like how this writing graduates from the physical sensory impressions to a claiming of a personal effect, impression toward an emotional presence.

You could even go a notch farther in this direction, bringing it more concrete, giving a direct owning, a personal action, a solid less etheric form.

I know of few who can handle graphic art and literary art as you do Ken.

[Ken Simm.]

What an incredible thing to say. I am humbled. I too love Hoppers work. I say that as by the by, by the way.

[jacob erin-cilberto]

this is quite the drawing in itself.

you paint a perfectly serene picture...nature unruffled by the human observing.

[Ken Simm.]

Now wouldn't that be nice. Trouble is observation changes nature quantum like.
Thank you so much Jacob

[Donald Meikle]

Betwys Y Coed We pronounced it Betsy coed and I too have pen painted her rushing tinkles. Druids yet wait Ken

[Ken Simm.]

Of course they do. With the Bards and Ovates all wearing their sheets and carrying their golden sickles.

[Ken Simm.]

Is your painting on here? What is the title?

[Donald Meikle]

Rolling Stones