Thursday, 15 November 2018

#416 'Autumn on Bramshott Common' 12x12"

This scene is about a 15-20 minute walk from our house. Autumn colours really improve this subject and I couldn't wait to paint it! 
I liked the track leading in to the orangey oak tree. The sky was a bonus with fluffies. I put them in straight away as I knew it would change. By mixing a neutral colour from the 3 primaries - red yellow blue and made sure it was light enough in tone.

Quite often I will take a photo during the painting and change it into black and white on my phone to check the tonal values, make sure they read and work as a whole and compare them to the subject. 

My palette, subject & painting nearly finished

Sunday, 11 November 2018

#415 'Venice Reflections 2' 20x50cm

The second in this series. I started en plein air but mainly painted in the studio. 

I liked the rich blues and oranges complementaries really pop! Strong brush marks and thick paint again, seems to lend itself to this subject.

An artist friend I painted with in Venice she calls this type a sky hole painting. You can see why! Not easy to get the composition right, helped to study it while I was on location.
This is how I started....
Getting the big surface areas in first.

#414 'Venice Reflections' 20x50cm


I drew this one out in Burnt Sienna plus another while in Venice but decided to paint them both in my studio so I could take more time do it in layers. 



Was aiming for vibrant colours, thick paint, strong shapes and unusual composition.
I did do a plein air painting in full no #391 while in Venice which I used as reference for this one.
The initial blocking in of colour:

Once I had covered most of the board I put it to one side and work on the next one - see following post. Being similar in colours I could learn from one as I moved to the next and back again.

The next day I put on a thick layer of paint. At this point I wasn't particularly happy with it which allowed me to attack it and not be worried about ruining it. It does help a painting to taking risks and push to se how far you can take it.

It's not a usual composition you see for a Venice canal. It was the view we saw every time we left or house, I am happy Ive managed to capture it!

Tuesday, 6 November 2018

#413 'Sheep on the South Downs' 30x40cm


Looking out for subjects driving is always a little hazardous!
Saw these sheep and a bonus place to pull in and park near by. They were sleepy and laying down until at least an hour into painting them. I worked quietly trying not to scare them. In the end they were very close and I could hear them pulling at the grass! Such a soothing place to paint. 

I thought the road was a bonus as it sweeps through to add an extra element of composition. I used a medium grain linen canvas which definitely has a different look I think I like it!
I painted the sheep as they were grazing and took some out when I got home to make a better composition.
By the end the sheep had all moved down hill

Saturday, 3 November 2018

#412 'Albert Bridge, Reflections' 12x12"



I used a home made linen board....
METHOD for making one: I roughly cut out some preprimed canvas stuck it to a MDF board so it overhung on the sides. I used Neutral PH PVA glue (so it wont rot in the future.) Once dry I cut it butt up to the board with a scalpel knife = linen covered board ready to use!

And this was the first painting I tried on it. I have had this canvas for years and I'm not sure whether it's too course. The subject may have called for a finer weave but it made me apply the paint loosely yet put in details like the boat. Its always a fine balance of enough information to it being overworked.

Here are the stages of my painting