#454 'Lights on Tower Bridge' 6x12"

Up crazily early 3.45am to get to London to capture the the illuminations before they were turned off! And the deep ‘blue hour’. Its surprising how quickly it changed from this to daylight see pic below - about 20 mins! I do enjoy the race against time and putting the impression of the place without too much details more shapes and colours.

#452 'Sunset Walk, Chelsea Embankment'

Beautiful light and pastels colours! I wasn’t going to include the left side of the embankment thinking it was to contrasted but I think it helps the composition and really shows off the light colours. Plus the romantic stroll aspect has a good feel.

#451 'Admiralty Arch' 10x12"

It’s funny how you can love a painting you’ve done one moment & hate it the next. I started this last year en plein air & abandoned it in disgust when I got home. Saw it again recently & thought that’s worth working on! & now I’m happy with the result. Such an up & down painting life!! 

The main things I changed was adding people especially the foreground biker as there was a big area of pink tarmac! - I toned down the pink it was too bright. Plus adding more light through the arch to draw your eye into it and putting the bus in, got to be done London and red :-)

#447 'Golden Hour, Albert Bridge' 30x40cm

No wind, beautiful light and cloudless sky. Such a great combo, with the silhouetted shape of the old Victorian Bridge (built in 1873.)

I maped out all the dark structural areas first, not much detail just main shapes and then the lighter sky. Tricky when it changed so quickly but finished in the studio. I wanted it to feel like that strong light shinning just before it goes down and mellows.

In mid painting flow when a photographer quite far away with a zoom lens was aiming at me. I called after him once he'd taken it but it was way too loud with the traffic on the Chelsea Embankment next me, he disappeared but kindly looked me up - from my website on my Open Box M pochade. 

Thank you Wojciech Jarowslaw Pawlowski for the lovely sunlit photo.

#425 'Venetian Cafe' 30x30cm

This week I have been looking after the family Shih Tzu dog, while my Mum is away. He is 12 and has lost his hearing from old age, plus he has gone blind from bad breeding, poor sausage, so it makes painting a little tricky! But I did manage this one in the studio with snatches of 10 minutes of time in between checking on him in the house!

Matte

This scene I couldn't resist with the yellow wall so bright and glowing in the sunshine, it was my last day in Venice so I snapped a pic and did a quick drawing and here is the result! The Square is Campo Santo Stefano and its the 'Art Blu Cafe'.

#422 'Christmas Lights, Irving St, London' 30x30cm

On Saturday I took part in The Royal Institute of Oil Painters (ROI) Paint Live day. 60 artists met up in the Mall Galleries to have a paint off in London - 1/2 mile radius of the galleries in central London. 
It was raining and grey but I decided to embrace this! I took 2 umbrellas incase it was gusty and one broke one!
Not easy as it was a Saturday and run up to Christmas shopping, so busy could barely see my subject! Loved the reflections and lights, it makes up for the grey day! 
It was my first time taking part and I found it quite nerve wracking as the paintings were judged at the end of that day in the Mall Galleries. I am pleased I did a painting I'm happy with and didn't mind showing to others!
I will do it again next year :-)

#324 'Spring at Richmond Bridge' 9x12"

I have been visiting my sister in South Africa a hard decision not to take my paints but lovely to have family time and a break. So I'm fresh and ready to go and what a day to start back...

Painted this yesterday in glorious spring weather.  So warm it felt like summer, I'd forgotten what it's like painting in the heat! Not complaining though.

Quite a complex subject so kept it loose without succumbing to too much detail. Its a great area to paint, so much fodder! 
The bridge was tricky as it was medium light tone but it was contra jour so it was silhouetted and darker than you think. I kept telling myself paint what you see not what you think it looks like!
I was painting with artist buddy Sarah Manolescue she did the same scene but so different, - portrait format ...always fun to see how others interpret the same subject.
It was buzzing around the Thames, with buskers and boaters and people in enjoying the weather, so lovely to have a job outside when it's like this :-)

Spot my easel and Sarah painting near the busker! Plus it felt like we had an audience - so busy!

#321 'Early Morning, Chelsea Bridge' 8x10" & The Artist Mind

An artist mind and attitude has so much to do with painting as their body! It can really get in the way sometimes. 
On Thursday I went to London I had prepped a lot the night before to make me feel ready and have some sort of plan. The last time I went to London I didn't prep and my painting was dreadful! So that was in the back of my mind I wanted it to be a positive experience. 

It was absolutely stunning when I arrived at Albert Bridge the sun was just coming up over the Thames River and the light on the water was gorgeous. I was too late to paint it but had to suffice with photos and drinking it up.
I set up contra jour it worked because there was a haze of cloud not too bright in my eyes. Just as I started to apply the paint the sun broke through and dazzled me! So bright off the water I couldn't see the subject (see pic below) so I abandoned this painting - I will have a go at in the studio.

I walked to the other side of the bridge with the sun behind me.A complex view that I couldn't get my head around  (see pic below). My board didn't fit the subject very well so the composition wasn't working and the board was too slippery, these two factors alone through me I wiped off twice and started again. Meanwhile my mind is doubting and panicking ....'I wont have a painting to show for all this effort or I've lost it I can't paint any more!! Quite ridiculous but thats what happens on a hard day.

I turned around and saw the Chelsea Bridge view and thought that's a better subject. It fitted a smaller board and I painted it in less than an hour. My mind was now quiet and happy! Such a rollercoaster. Painting plein air you never know if it will turn out. I think everybody who paints struggles with self doubt and fear of 'failing' It seams however many paintings I get under my belt it still happens, I hope I can work on this!
'The Artist Way' by Julia Cameron is a great book I've had for for years and does focus on the mind and creativity.

#297 'Albert Bridge' 12x16"

During a rainy day when plein air isn't so easy or appealing I painted this in my studio from a small plein air I did in September last year. 
I had started it (see pic below) and then it sat in my studio for a month. I was unsure as to whether it was going to work out and with a little encouragement from my husband I continued and finished it.

I decided I wanted to mess it up before I started to apply paint. So I took some fine sand paper to it.... See pic below.

This helped take away the harsh edges and allowed me to add paint freely over the top. I have kept some of the sanding showing especially on the right hand trees.

The board is lot bigger than the plein air study and so there's more subject that will fit into it.

I used a glaze medium to thin the paint called Robersons Matt Glaze instead of Sansodor I normally use. A lot stickier, shiny and thicker consistency unsure as to whether its' better than Sansodor!  

Considering I wasn't even going to finish the painting it's turned out well and it is now for sale on The Mall Galleries website for the Buy Art Buy Now section. So exciting to be represented by the Mall Galleries online!!

see link...

https://www.mallgalleries.org.uk/buy-art/art?artist=25931&sort_by=created

#290 Tower Bridge 10x12" & Preparing for a Days Painting

The sky was beautiful when I arrived a typical English with cloud fluffies and crisp blue behind them. I was lucky as by the time I'd painted the sky it had clouded over and it was mainly grey! So different and not as magical.

I thought it maybe helpful & or interesting to read what I do to prepare before a days painting especially in a big city....

Weather forecast Check for rain & wind. Sun & cloud was due so perfect! How windy? - Gusts up to 30mph = cold and need winter tripod & layers.

Research on google other peoples paintings of this area eg 'Tower Bridge plein air paintings'. And ask questions of myself 'what do I like, what compositions work well and formats'...

Google Maps
Drop the man onto the map to see a photo of the view and whether it makes a good painting subject, also helps to work out board size shape..

Tube station check how far it is to walk - with all the gear! (or parking if I drive.)

Suncalc app on Android phone 
Put in any position on a map like Tower Bridge and see where the sun direction will shine onto your subject at anytime of the day. Great tool for working out your painting position.

Equipment pack my bag ready with boards, loading my palette garage with paint, pochade, tripod...gather my warm clothing.

Watch You Tube of plein air painting demos of people I admire e.g. I watched Lena Rivo a Portugese artist who is amazing! I love her work and and afterwards felt inspired geed up for my day in London.
Or Watch one of my painting DVD's for example a good one pre London is Ken Howards 'Variations on a Theme' as he is painting in London and it's good!

Intention Have ideas before you set out....That day I decided that I wanted to paint Tower Bridge, a bigger size than previously and with more colour, especially in the sky.

I want to get the most out of a painting day especially when I'm making an effort with the travel and carrying kit around.
Turning up at a location can be overwhelming and you just want to paint it, but to prepare beforehand helps give direction and goals and also allows for smoother travel time and generally more prepared on all fronts!!

Before I refined it

I got the painting home and was going to post it on here and Instagram but wasn't 100% about it. I knew it needed some work but it wasn't obvious what until I started on it - 
What I did...Darkened the water in the foreground, refined the boats and buildings. Happier now!

#286 'Winter, Hammersmith Bridge' 8x10"

Really tough conditions, biting cold wind, gusts of 38MPH, I tied my easel to the lamp post so I didn't have to hold onto it the whole time. Trying to do any detail was tricky as it buffeted your arm but I'm still happy with how its turned out, it captures the essence of the bridge - I love the silhouetted shape and the lovely green lit from the side. 
The rowers I thought they were mad to be on the Thames on a day like this, but realised they might think I was mad to be painting there too! I thought they gave a bit of life to the scene.

I painted this bridge a couple of months ago, but didn't post it, (it was a duffer!) I made the mistake of painting too close so it was huge in the picture. A good lesson to stand further back when it's a new (tricky) subject then learn the basic shape, and hone in closer another day....

#266 'Putney Pier, London' 8x14"

I went to see Richard Pikesleys solo exhitbition yesterday at the Russell Gallery in Putney. Really inspiring show, I love his mark making and amazing light!  
So I was all fired up afterwards and did this painting. 
I was lucky with the tide it was just right for a nice shaped shoreline. I painted that first and then the sky with pastel colours. See pic below with how I started.

#253 'Morning Light Albert Bridge' 8x10"

On Monday I went to London to see the Chelsea Open Exhibition which I was very pleased to have two paintings showing in it. One of them was Albert Bridge so I was inspired to have another go at it. 
I have noticed the light is changing now the sun is lower in the sky and it was a gorgeous morning.

I started a couple of times and wiped off, I liked the reflection of the bridge posts and moved the composition up to get them in. 
With this faffing I then started without drawing as I wanted to capture the light as it was so I just got the colour down. 
See the stages below. So much harder to work out all the shapes and proportions as you go but it seams to work well as a method - one that Richard Pikesley artist, has suggested to me in the past.
I also experimented with getting the wall and lamp post in on the left side, but being a relatively small board the two strong uprights (the bridge & post) competed with each other and didn't work so I took the lamp post out.

Painting the bridge without drawing first

The two paintings which got into the prestigious Chelsea Exhibition last weekend.

#240 'Mist, St Marks Square, Venice' 8x10"

I wasn't sure how I would tackle the mist but once I had found this great spot and mixed my colours, I really enjoyed it. 

Someone said to me to put colour notes down early on in a painting. Which I have been doing recently, especially in such a tonal painting like this one. I put a patch of the sky in next to the building to give me an idea whether I've pitched both of them right.

I've also been working on reducing the amount of tones I have in the painting down to around 4! Which seams very little compared to what is out there. But it helps with composition and making the painting work as a whole. Can you spot the approximate 4 tonal values in this painting?

The mist was quite thick to begin with and the moist atmosphere made my paints sticky and the pavement was wet as though it had been raining, which allowed for great reflections!

A couple of location shots

#235 'Tower Bridge, The Thames' 8x10"

This was the final painting I did on Monday. Started it about 10am there was cloud & sun, a lot less dramatic than #234. But still inspiring and interesting to paint. 

We were further away from the bridge so it's smaller in the composition. Putting the boats in the foreground and HMS Belfast on the right side helps with composition.

Aerial perspective, to give a sense of space I simplified the colours and made them tonally lighter as they receded. Keeping the strong contrast of colour and tone in the foreground.

The scene looked different when I was finishing the painting (see pic below), the sun properly came out and I made the mistake of putting the blue iron works on the bridge in a blue colour, because that's what I could see! 
Back home I could see it was too blue for the rest of the painting, so I dulled it to fit! 

I was painting with Caroline Greene & Rod Major. Caroline I met on a painting workshop and kindly reads my blog. Rod I met through posting on instgram!