A Fishy Wrongness Poem for 2026.

 

Soft Herring Roes on Toast

Rose on Toast

Consider the word ‘herd’. 

 By context rendered absurd.

Lords, Ladies and Gentlemen

I give you “rows on toast”.

Glasses roes in the auditorium.

Silence rained.

Tension mounted,

and then got off again.

In the dyslexic dictionary

Words are sew very easily lead astray!

George Roberts (full of fishy wrongness) January 2026

The Wolf Moon January 2026

 

Who doesn't like a misty 'Wolf Moon'?  Cold last night on the Suffolk Coast and this morning it snowed. The plants in the backyard received a regular frosting and the birds were pleased to help themselves to fat, wire worms and sunflower seeds from the bird table.

The cat that goes on glowing.

 

'If Cezanne had had access to a usb'
 - installation by Anita Bissett- glass artist. 2026.

Beware all mice that dare to pass!

Tootyville the Calendar

 

'May 2026' by Felix Roberts formerly known as Fizzwold.

Neil takes Lowestoft by storm. Cats really love rostra!😸

Happy New Year 2026

 

The very last astro-image of 2025 taken over our hedge in Suffolk, looking south towards Beccles. Orion is peeking over the bush, the constellation Taurus is in the middle and the open starcluster, The Pleiades or Seven Sisters, is top centre right.

I am hoping for more clear nights in 2026 than were manifest in 2025.

So a happy New Year Stargazers wherever you are in the 'ginormous' cosmos.

I am just about to have 'Tartiflette for Tea', so I am as happy as a 'piggy in poo' Yay!

At midnight, Toot and I may  wave a few 'sparklers' to celebrate!!!

Cwistmas Cwafting 2025

 

'Mr and Mrs Roberts and Neil' acrylic paint on canvas. October 2025. By David Cockney- no relation.

By kind permission of the owners and their insurers.

Painting a portrait

The best bit about art is that it is personal. In my arty farty realm there are no rules and happily for me I rate the 'journey' above the 'destination'.🤣

Now the big difference between a portrait and a landscape is primarily whatever way you choose to render a landscape " it doesn't get the hump" whereas a lack of 'likeness' in a portrait can cause a severe reaction from the model or sitter.

So I like to prepare a detailed drawing on the canvas using a very soft pencil prior to getting out the brushes and paint. 

At this stage getting the likeness from ' get go'  is a bonus but being there or thereabouts will do. There will be many design interactions once you start to paint.

As you can see, I use photographs and photo editing to compose my portrait. However, although. I really admire super realistic painting skills, I much prefer paintings to be looser and softer. If you want figurative realism why not stick with a photograph?

I love it once I get the canvas on my easel in the 'cabine' and start splashing on the paint with big brushes. Save the fine brushes to the end or it all gets a bit fiddly!

Now, all this 'squit' I'm posting regarding portrait painting should be run through the 'old architect who has never been taught to paint properly ' filter. Thing is, in the olden days, when I was schooled in the mysteries of architecture it took 7 years to train. One year was sufficient to acquire the building knowledge but it took another six years to lose any semblance of modesty or restraint when offering advice upon any subject under the Sun. You have been warned!

I have recently  moved from using oil paint to acrylic paint primarily because the drying time between coats for acrylic is much shorter, minutes rather than days.

               

I like to block in the face first concentrating upon: its shape, the relative position and size of facial features and levels of shadow and light as it defines facial contours. At this point in developing the 'picture' I use colours selected for their contrast rather than accuracy. 

Checking background colours and how they blend and contrast with the face is an important part of the development process.  Careful selection of colour during the development of the painting, will enable the end result to come together harmoniously and possess impact. 'Likeness' will come and go along the way and is impacted by very small additions and removals. Tiny changes to the eyes nose and mouth make significant differences.

It is a very good thing when painting to take a break and come back in 24 hours with a fresh eye. Given time to think you can return to your work with a better informed appreciation of what needs to change.

I like a bit of symbolism in a painting, see if you can find its use in my finished portrait of my partner Toot.

As the painting nears completion I use smaller brushes and transparent washes of paint. You can use acrylics as a wash if you use the appropriate paint medium. Once you have captured the ' likeness' put your brushes down.

Even after varnishing a painting, I sometimes add a small paint mark here or there, which just helps to emphasise likeness or composition.

Golden rule: it is not really about technique and all about fun and emotion.