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This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.
This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.
This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.
This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.
This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.
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Calligraphy Abstract II Painting

David Drain

Germany

Painting, Acrylic on Wood

Size: 31.5 W x 31.5 H x 1.2 D in

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$1,570USD

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About The Artwork

This is the second in a series of paintings inspired by my love of calligraphy and the skill of beautiful handwriting. I have worked here with a limited palette to create an image which is minimalistic, using shape and form as a kind of close-up of calligraphic elements. The surface of the painting is textured, achieved by using marble paste mixed with sand to provide a subtle surface and giving an aged look to the overall image. Fine, thin ink line has also been added to the surface in part. The painting is on a cradled wood panel, finished with a waxed satin surface.

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:31.5 W x 31.5 H x 1.2 D in

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The process of creating a finished painting for me is a journey of discovery and a balance between intention and chance, between planned and unplanned, between accident and control. I strive to capture a high degree of subtlety and mystery in my abstract paintings. This creative challenge nourishes me and satisfies me on many levels, occasionally driving me slightly crazy! Born in the south of Scotland, David Drain’s studio and home are in a village on the edge of the Black Forest in the South of Germany, close to the Swiss art city of Basel. The subtle interplay of natural light has always held a fascination for David. Growing up in the Southern Uplands region in Scotland, David experienced the variations in the quality of light and weather on the intensity, subtlety and richness of the landscape. Ruins of abandoned factories and ancient stone buildings, with their fascinating storied surfaces, crumbling structures, subtle shades of old walls and aged wood, patina and rust have all proved sources of lasting inspiration.

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