Jason E. Collinge

Castle Ruins (8.5 x 11 inches: Pen & Ink on Paper)

Clara Castle (8.5 x 11 inches: Pen & Ink on Paper)

Coucy Round Tower (8 x 10 inches: Pen & Ink on Paper)

Dover Castle (8 x 10 inches: Pen & Ink on Paper)

Perched high above the White Cliffs, Dover Castle (Link one & two) is the "Key of England".  Below the castle is a secret complex of wartime tunnels complete with a field hospital level.  In addition to all of this, it is said that high on the battlements walks the ghost of a headless drummer boy.  If you look close enough, perhaps you can just make him out.

Eilean Donan Castle (14 x 19 inches: Acrylic Paint on Canvas)

This painting is of the north side of Eilean Donan Castle near Dornie in Scotland.

Forest Path I (8.5 x 11 inches: Acrylic Paint on Rag Paper)

A tonal study using a simple, beginner's method of painting.

Forest Path II (8.5 x 11 inches: Acrylic Paint on Rag Paper)

A tonal study using a simple, beginner's method of painting.

Forest Path III (8.5 x 11  inches: Acrylic Paint on Canvas)

Here Jason pushed the tonal study of Forest Path II by adding washes to enhance the colour while retaining the tones.  Then he added the rays of sunshine through the branches.

Japanese Cabin (8 x 10 inches: Pen & Ink on Paper)

Regrettably, these older, traditional Japanese structures with sickles attached at the peaks, which presumably are to metaphorically cut the wind and thereby protect the building, are gradually fading into obscurity.

Kokyo I (11 x 14 inches: Pen & Ink on Paper)

Kokyo II (11 x 14 inches: Pen & Ink on Paper)

Lakeshore (8.5 x 11 inches: Acrylic Paint on Rag Paper)

Laval Bridge (8 x 10 inches: Pen & Ink on Paper)

The beautiful Laval Bridge embodies history.  Wonderfully preserved, the arched stonework of the bridge on the River Mayenne at Laval, France with the castle of Laval in the background has been the subject of choice for many art students. In this art piece, as with the rural or bucolic images of Camille Corot (1796-1875), Jason attempts to capture the texture of the rough-hewn stone using a combination of scumble and broken lines, beginning with a slight sketch followed by indicating values through a scribbling of lines made by rapid, sweeping strokes of the pen.  His analysis of values and a sensitive flickering of line convey everything, as the general rendering of lines, ostensibly disposed in an erratic, thoughtless, and temerarious approach, express all the poetry of the landscape.  He balances the image by contrasting this texture with the more fluid reflections on the water where the slightest line has its own value and intensity – vibrating and transmitting his emotion.

Mountain Lake (8.5 x 11 inches: Acrylic Paint on Paper)

In this art piece, Jason attempts to capture the texture of the mountain stone using a combination of scumble and palette knife work.  His analysis of values and a sensitive dabbing of grey shades convey everything, as the general rendering.  Ostensibly disposed in an erratic, thoughtless, and temerarious approach, they express all the poetry of the landscape.  He balances the image by contrasting this texture with the more fluid reflections on the water and the moody greyness of the sky which has its own value and intensity – sighing with gloomy portent.

Mountain Lake II (17 x 24 inches: Acrylic Paint on Canvas Board)

In this art piece, Jason attempts to capture the texture of the mountain stone using a combination of scumble and palette knife work.  His analysis of values and a sensitive dabbing of grey shades convey everything, as the general rendering.  Ostensibly disposed in an erratic, thoughtless, and temerarious approach, they express all the poetry of the landscape.  He balances the image by contrasting this texture with the more fluid reflections on the water which has its own value and intensity – vibrating and transmitting emotion.

Mountain Oasis (24 x 36 inches: Acrylic Paint on Canvas)

In this art piece, Jason attempts to capture the texture of the mountain stone using a combination of scumble and palette knife work.  His analysis of values and a sensitive dabbing of grey and brown shades convey everything, as the general rendering.  He uses a layered perspective approach in this piece to increase the depth as he balances the image by contrasting this texture with the water which has its own value and intensity – and emotion.

Mountain Top (7.5 x 11 inches: Acrylic Paint on Paper)

In this art piece, Jason attempts to capture the texture of the mountain stone using a palette knife technique.  His analysis of values and a sensitive skimming over the mountain peaks convey everything.  Ostensibly disposed in an erratic, thoughtless, and temerarious approach, they express all the poetry of the landscape.  He balances the image by contrasting this texture with the stippling of the grass and the sweeping haze of the intensely blue sky transmitting serenity.

Night Sky (14 x 17 inches: Acrylic Paint on Paper)

Pevensey Castle (8.5 x 11 inches: Pen & Ink on Paper)

Pevensey Castle in East Sussex has a history stretching back over 16 centuries.  Pevensey Castle chronicles Britain's south coast defences more graphically than any other fortress.  It is one of the last and strongest of the Roman 'Saxon Shore' forts of the 4^th century, two-thirds of whose towered walls still stand, and was the landing place of William the Conqueror's army in 1066.  During the century after the Conquest a full-scale Norman castle, with a great square keep and a powerful gatehouse, was built within one corner of the fort.  In the 1250s the towered bailey wall was constructed, and soon put to the test during the great siege of 1264.  In addition, there is even a dungeon and a ghost – the Pale Lady of Pevensey.