#438 'Chilly Brook' 24x30cm

I drove for over an hour trying to find a subject, not easy seeing over the hedge rows and being able to park safely when there's snow on the roads. Really pleased to find this winding stream in the Meon Valley. I adapted the composition a little by making the distant hill snow instead of all woodland, also adding a bit more snow than there was! Mainly monochromatic with a hint of warmth in the bush.

I am feeling happy (and quite tired) after the great snow we had here. Its now melted, having been here for 5 days I made the most of it with 14 paintings started en plein air! but 1/3 not finished - I will post some over the next few days/weeks.

#430 'Sunset Over The River Hamble' & Perseverance

Thank you so much to those who have emailed me and commented re my previous post. It's really good to have feedback as it has been hard to gauge what you think of my blog! 

It seems like the consensus is to carry on with the format I have been doing - paintings and a bit of writing but to also include some informative posts along side the usual painting posts. I am happy to keep going with it :-)

River Hamble
I had made a solid plan for where I would paint - Seascape of Bosham, I'd checked and rechecked the weather forecast, sun and cloud - perfect. Not too much wind and tide was the right level. Picked the boards/canvases that I thought would suit that subject. Left at 1.30pm ready to do two paintings a later afternoon and a sunset.

Work in progress, beautiful sunset!

It was heavy cloud all the way down to the coast. Left which is the Bosham area a thick blanket no sun, right had sun on the horizon, I made the quick decision of turning right, I drove into Portsmouth but decided there wasn't enough sun, so I came back out and went towards Southampton. I knew there was a river a long there having walked some of it with my Mum 10+ years ago.
A friendly security guard at a Marina said walk that way for some good views. I wasn't decked out to be walking and had to dump some of my boards (getting rid of weight) in the car. I walked on a path next to the river it wasn't a great view and I didn't know if it would get any better but decided to persevere as I'd come this far. I went about a mile when the river bent into the direction of the low sun, the clouds had broken up into a wonderful formation and there was the view! So relieved and happy to find something inspiring to paint. 
Although the time was ticking on, I'd mapped out a composition and quickly mixed some paint colour ready, but by then the scene had change too much so I started another this time just painting the sky, after it had changed again I painted the sea and foreground. I finished it in the studio.

Perseverance pays!
When I first drove down to the coast looking at the sky, grey and more grey with a tiny amount of light. But to carry on with the uncertainty of finding a decent subject and to end up painting a new place was definitely worth the angst! It doesn't always end in a positive! Plein air is such a challenge in so many ways and this was just one of them!
Clare

#424 'Early Winter Light, Camber Docks, Portsmouth' 30x40cm

First layer of burnt sienna and the all over thin layer of colour/tonal shapes was done on location and the next day I did a fat layer of lush paint! So fun to do. 
The big blue/black boat difficult shape as it was strong blocky, so I used thick and thin paint and a greener reflection.
I suggested the silhouetted shapes of the buildings not too much detail.
Made sure the yellow struts of the fishing boat stood out against the darker background.
The water in the foreground gradually got darker. Little pinkie flecks of colour from the sky I put in before the green blue water and blended the edges a little.

#409 'First Light, Langstone' 12x12"

I used a textured linen coloured board by Loxley. Not tried this type before, its quite rough and I think the subject work well with this style. 
Thinned the paint with Distilled Turps  - experimenting to see if it's any better than Winsor & Newton Sansodour which I usually use. Strong smell but I think I prefer the consistency. I added thick paint especially around the skyline of the trees - the important bit! Paying close attention tot he silhouetted shape of the boats not needing much details just get the shapes of them right.

3/4 of the way through, tide coming in, sun just up!

#407 'Emsworth Moorings' 10x12"

I tried painting this boat about 2 years ago when I first started plein air. I drew it out onsite but didn't really know how to tackle it so it was left unfinished. A tricky boat subject!

This time a bigger board and lucky with the refections. Although I had very little time to get them in as the wind picked up as the tide rolled in. So I finished in the studio which is sometimes helpful when a subject is harder there is more time and less panic that the subject is changing!

The side of the boat (hull) in shadow getting the tonal value not too dark and still warm as well, The top of the boat was quite blue - in shadow but also reflecting the sky. I'm pleased with how it turned out. 

#405 'Sunrise, Langstone Harbour' 18x24cm

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The second painting of a morning (see previous post) 

A small sunrise oil sketch, very enjoyable subject, hope to go back before the boats disappear for winter!

Slightly textured linen board gives a different finish.

The tide was coming in so made the most of it with the light reflecting on the water. (previous painting the tide was out)

#404 'Dawn, Langstone Harbour' 10x12"

I arrive early when it is still dark so I can faff with where I'm positioned & composition, board size and format. Mixing some colours and being as ready as I can be before the sun comes up!

Those inky clouds where there when I arrived and dispersed fairly quickly so put them in before the light really came - using my double head lamp:

I don't bother with details of the boats until the end, it's more about the light and colour. I simplified the muddy area and how many boats to put in and choose where to position them too.

I did another small painting straight after see next post....

#356 'Early Light, Southsea Beach' 9x12"

Good to get back to plein air painting as I had a week in the studio doing commissions, finished and happy :-)

A quick painting session this morning before piking up our shared dog (Matte) from my Mum in Southsea. 

I was really pleased to find these great shaped clouds and contra jour sparkling light on the water!! 
I didn't do any of the usual things before - like sketch and mix piles of paint... I just got the board out and did the sky straight away, as it was breezy and the clouds were disappearing to my right fast.

The tonal values were really important getting the lower half of the sky darker than the sparkling sea but still a yellow glow. The light on the clouds were lighter than the overall sky but darker than the sea sparkle. A lot to assess in a one a hour painting!

After this one I turned around and started another this time of an old friend South Parade Pier, painted many times when I used to live in Southsea. Sadly I ran out of time so will post when its finished!

Plein Air Workshop May 2018

Just two places left on this workshop I will be running May 19th in Hampshire. It will be structured teaching and include a handout, short demo, lots of one to one help and plenty of painting! Contact me if you are interested. Clare

#309 'Meon Valley' 9x10"

First visit to paint in the Meon Valley with the Isle of Wight in the distance, a lovely area and will do lots more here.

Surprisingly cold with still some snow on the ground, I was drawn to the rounded shapes of the hills overlapping and skeleton tree shapes of winter. 

Making the tones and intensities of the greens work and keeping the dark trees in the foreground strong. The middle distance I wanted to paint bluer than it was, kept adjusting the colour to a warmer light mix. A little bit of light on the water in the distance. I thinned out the foreground trees as they were too dense and stopping the eye from moving up through the painting. Just off square format to emphasis the rounded hills. 
Pleased with this one, as landscapes are not easy!

#308 'Sunset over The South Downs' 10x12"

A painting I'd started just as the snowy weather arrived. It was so bitter exposed on the top of the South Downs, but a stunning sunset. I had been painting another but stopped and started this one, which turned out better as the colours are stronger and I honed in to the bit of the hill and sky I liked previous one I tired to put too much of the view in it!

This is where I got to outside (see pic below), the sun quickly disappeared below the horizon which of course changed it so I stopped.

Completed yesterday in my studio.

#307 'Hammer Vale in Winter' 8x10"

I started this when it was a blizzard, the ice crystals landing on my board and palette congealing into little snow balls! I struggled on but the conditions weren't conducive to say the least! 
I went back the next morning and decided to start afresh, new painting same view. So much easier when the weather is a little less extreme. See pic below.

Ice Crystals!!

I have ended up with two paintings of the same view, the first which I have made my main top one. I scraped off what I did when it was snowing and did a fresh layer of paint over the top in the studio and it ended up better I think than the one below. Which surprised me.

Second attempt painting

So I actually painted this view 3 times - first day in the snow second day not snowing but maybe too careful and the third day in my studio back on the first painting! if you can follow all that :-)

The learning is paint a subject more than once, it really helps to know it, familiarise, relax with it and also not worry about the end result. I thought it wouldn't turn out so I went for it nothing to loose and it worked!

Things I did differently: pushed the tones to lighter, made the colours yellower and bluer - prettier, freer with the brush strokes, emphasised the foreground tree branches...changed the widths of bands of colour.

A couple of people people kindly took photos of me over those couple of days. 

Couldn't have painted without the brolly while it was snowing.

#306 'Snow falling on Bramshott Common' 10x10"

I started this by at 8am because I knew the heavy snowfall was due. I have painted this scene before back in 2016 when there was a light dusting and the path still visible. 

The shape of the foreground tree I emphasised with light and dark contrasts, as I liked the shape. Also the path making an 'S' shape into the picture. The line of trees at the back I simplified but I may still re work them. 

Not many colours, quite a tonal painting. The snow I applied the paint thick & juicy especially as it wasn't sticking very well to the board due to the cold atmosphere and snowy conditions. It started to really snow by the end of the panting so I decided to include a few flutters of flakes.

This is half was through...

#295 'Late Afternoon Reflections' 10x10"

I had a plan to paint the sunset at Emsworth (Hampshire), I had seen it recently and went back to paint a certain view. But on the day you have to choose what's good and yesterday it was these beautiful still waters, reflections and strong colours...
A lovely subject to paint, it makes a difference with how colour saturated a subject is by where the sun is. This time the sun was opposite the view, recently I have been looking more into the sun, which takes out the colour and makes it more tonal.

I enjoyed painting the colours of boats, although quite complex with mixing each colour and then separate but connected colours for the reflections!
The boats were arranged in this composition although they moved about quite a bit on the incoming tide. I took out a couple of boats to make it more pleasing.

A family next to me were feeding the birds they were going mad for the bread, the swans didn't get a look in.

I have managed to finish and upload a speeded up video demonstration of the previous painting, have a look at number #295 for the 40 second video....

#294 'Low Tide, Langstone Harbour' 8x10" & Video

I went back to Langstone (in Hampshire near Portsmouth) yesterday it's been a while since I painted their. It is an inspiring place even with just a trickle of water! 

Video News
I've been wanting to video my painting process and share it for a while. My recent delves into watching people paint on You Tube has inspired me to try. 

Its not easy knowing there's a camera on you the whole time and I decided to keep it simple and not do commentary but I kept having to shut my mouth as I wanted to explain what I was doing and justify some actions! It does feel like your going to be judged.

But annoyingly my battery ran out so I only got 3/4 of the painting - about 40 mins worth. But it was a good first attempt. I'm not sure if I will post the long version as I put the camera on the right side and my mixing arm rather gets in the way of the painting, I will try again and put the camera the other side! 

The painting has a limited palette and emphasising the light on the water - keeping everything else tonally darker. 
Happy I was able to produce while under pressure!
Here is the video a speeded up version of about 40 seconds. What do you think?

#293 'Winter Sun, Emsworth Harbour' 8x14"

Some plein air painting days don't turn out as you expect...I went to Bosham first but with high tide, a biting wind, no reflections, and no boats it wasn't inspiring so I went to my other favourite painting spot (Bosham Channel) but again with high tide it wasn't working. 
Last location was Emsworth, the wind was so strong and big gusts I didn't think I could manage it, and of course the scene I want to paint was exposed on the harbour wall. Just about everyone commented to me a hard day to be painting! Yes I thought ;-)

I started by thinking just get a few strokes down and then I can finish in the studio... (Sometimes when it feels daunting or hard to start this thought can help.) No need to worry as I finished on the spot and quite enjoyed it! As I wasn't so careful and just did it quickly and intuitively. 

Another thing was I had my sunglasses on I can't remember the last time I painted with them on, but being so bright it takes out any definition so with them on I could see more and it protects my eyes. I will use them again for contra jour.

Packing up I had to let go of my pochade, and of course a big gust of wind and it took off you can see how close I am to the water, I caught it with one tripod leg. Gave me and the swans a fright!

#267 'Early Morning, Emsworth Harbour' 15x40cm

Driving down to the coast it was a grey blanket of cloud so I was pleased to find this beautiful sky when I arrived and I liked the little glimpses of light on the water.

Painting a sky one of the things I think about is edges. Making some of them soft and others hard. I do this by wet into wet paint, or wiping with my hand or rag to soften an edge. The hard edges I paint and leave. Also keeping the tonal range close together and changing the colours warm to cool. The sky when its a feature like this I put in first - also it changed quickly as ever!
I had to be careful that I didn't make the boats to poppy in tone or colour as they were contra jour and not very lit. But I wanted them to have some differentiation between the mud and boats to see them!
The sky line is roughly mapped in as I didn't want to draw attention to it - its not important. The sweep around of water there is a big contrast of tones between the water and the mud so the eye is drawn to this bit which it good (& intentional!)
Here is my palette and on location pic:

#256 'Pheonix, Emsworth Harbour' 24x30cm

This scene didn't look that inspiring when I started the painting but knew it would get better as the sun rose. I liked the jaunty angle of the boat and part reflection obscured by the mud. 

It wasn't long before the tide rolled in and the boat was upright and floating. I made sure I didn't start painting it like this as its whole different painting on top of it! (see above pic)
There are three main colours two of them being complementary Red-Orange & Green-Blue, they do seam to go together well and the other a warm and cool grey.

Two areas I found difficult in the painting were the strip of houses on the horizon and the cabin of the boat. The houses I repainted until I finally cracked it, painting a block of similar tone and then over painting and picking out some roof shapes, it didn't need much. The Boat cabin was getting the drawing right and the tonal values within it. The mud line also got to fussy and overworked so wiped it off and had another go. (See pic below for the 3 areas.) 
I sometimes re paint san area as many times as it takes, it often adds to the painting to have ghost of marks underneath, so I don't think of it as a negative thing - although it can be frustrating sometimes!

#221 'Chalk Path, The Trundle' 8x10"

The light was diffused when I arrived but got stronger as I started which was easier. 
I have been using a homemade viewfinder recently which helps compose the composition (previously I've used my phone & taken pics) The viewfinder helps with what subject areas to include, which format - square, landscape or portrait. Plus horizon line level. The horizon was very hazy, no sea or the Isle of Wight showing. Just an orange strip.

I was at the top of quite a steep long path, and it was busy! Cylist, runners, dog walkers. Everyone saying hello and I had to stop myself giving the runners encouragement 'nearly there don't stop....' :-)

#208 'Paynes Boat Yard, Thorney Island' 24x30cm

My husband and I did a recce on Saturday for possible painting and photographic spots around Thorney Island (on the south coast of Hampshire). I loved this old boat yard so went back today. The owner was very friendly and even made me a cup of tea and biscuits while I was painting! 
This little harbour had a barrage weir so the water hardly moved up and down with the tide, soooo much easier than chasing the water in and out! The wooden boat is over 100 years old and named Teal.
The weather was changeable, wind, rain, sun... but not bad enough to stop.
I used a thin strip of wood to help me paint the straight lines of the mast. I know some other artists use a mahl stick or edge of a board. I thought I try it and it definitely helped make a much stronger line shape, I will use it again!
I'm pleased with this painting and will do more there :-)