#463 'Towards Chelsea Bridge' 35x45cm

Working on a larger scale again out en plein air. Was lucky with the sun coming out so provide sparkles on the water and great silhouetted shapes. My sort of subject! I wanted to paint as much as possible outside -because it takes me out of my comfort, pushing to make decisions and bring areas to a conclusion, I took about 3 hours and did 90+% of it, pleased to manage this, and with the outcome.

#456 'Dawn, Tower Bridge'

Painted on the same day as the previous Tower Bridge I posted, just a little later in the morning about 7am. I finished it in the studio as it was a bitter morning -1 degree! Seems a distant memory now with the lovely sunshine we are having. 

The cloud was actually behind me in the sky but I felt the composition needed something more so I turned around and painted it in :-)

This is where I got up to en plein air. 30x40cm

#455 'Evening Light, Hammersmith Bridge'

I have been working hard on all the elements required to put on an exhibition in London. Only 4 weeks to go now and I'm counting down... 
If you are interested in my paintings and want to see a taster of the show I have uploaded some of the paintings on my website under - solo show catalogue have a look :-)

http://clarebowen.co.uk/solo-show-catalogue/

I managed to get a plein air paint in, wonderful relaxed feel, almost like Europe, The Blue Anchor Pub spilling out onto the Embankment and people enjoying a drink and the evening sun. I got moved off my great perch when the club rowers were launching their boats, huge 8 man vessels, interesting to watch them all.

#449 'View from Battersea Bridge' 30x40cm

I have painted this bridge many times - easy to get hooked onto such a great subject! Plus it helps to really get familiar with something painting it over and over like Monet did. Recent paintings: Morning, midday, golden hour, twilight, and this one at 2pm. Also changing the view point.

Glowy light and intense afternoon colours! I stood at the top of the steps going down onto the embankment. It was a horrid spot as I was on a cross roads with the traffic right next to me. But worth it as I liked the shapes of the lights against the water. 

Painted with the sun on my back and therefore the painting was in full sunlight. Back home in the studio the painting was quite a few degrees darker than I wanted it because I was mislead with the sunlight on it. Tip: paint in the shade as sunlight is misleading! And the shade is more like the environment you will see it in a home.
I had to do a whole layer over the top of the one I painted outside to lighten it.

#448 'Twilight, Albert Bridge' 30x40cm

Started en plein air. When the sun goes down the colours intensify!
I might come back to this one and lighten the bridge a little more. A contrasted painting with very lights and very dark darks, so I had to lighten the darks and darken the lights so they weren't so far apart!

Plein air started at 6pm

#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.

#446 'Midday Light, Albert Bridge' 30x40cm

The end of last week was so sunny and warm, feels like spring is coming (already!) But I wouldn't say no to another snow day to paint :-)

Painted on a very textured canvas - one I was given as a prize from the Royal Talens Company. I hope it adds to the impressionist feel.

The white struts of the bridge were lighter than the sky and the sky was lighter than the water. The tones are so important to key to each other.

#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

#411 'Autumn Light, Albert Bridge' 24x30cm

Arriving in London I had a plan to paint the same scene as I did this time last year:

Including a bit more of the river bank and boats on a bigger board.

The tide was very low, which helped the composition anchoring it on the side. Also the space between the pink part of the bridge and water was huge which allowed there to be more room for boats and water.

The light was beautiful and it got better and better! (as we were leaving!) I goal I was aiming for painterly but well observed...

I was in London collecting work from the Chelsea Art Society Open exhibition I was really pleased to have a painting hung and it sold :-)

#352 'Moored by Richmond Bridge' 11x14"

I started this on a Friends of the Royal Institute of Oil Painters (ROI) plein air day. 

Standing under Richmond Bridge - its cool there!

There were over 20 great plein air artists on that day and although it was inspiring and lovely to work next to them I felt a pressure to 'perform' and produce a decent painting. It took me till lunch to settle and during the morning I had started 3 paintings which were all scraped! Then I started this little boat and I was away!

8x10" study completed en plein air

I actually completed this little study on the day and Ioved it so much I wanted to do a bigger version and slightly different angle.... so I started another one :-)

I mapped it in a underpainting of Burnt Sienna on site but then the group went to the pub and so it was abandoned till the studio...

Having just painted it once to do it again helped as I was familiar with the shape and colours. I made the boat large in scale to feature it and give a strong composition.

#341 'Afternoon Light, Albert Bridge' 6x12"

The sun was from behind and directly lighting the bridge, not easy to paint as it's more about colour less tonal than I have been working, but a good challenge! This was the final painting of the day with my 1:1 student Christopher Mike. 

I wanted the bridge to stand out, so I made the sky a strong rich colour and the same for water with less white in the mix.
The boats I only suggested a series of marks, not much 'detail'  as they weren't the focus.
There was a refection in the water of the pink bridge, I put in a swath of pink below but then painted the deeper blue over the top just leaving a few areas of pink showing through to give an impression of reflection and rippling water.
The white struts on the bridge implied but not all drawn in. Its surprising how little the eye needs to know what is there.
Pleased with this little painting will do more sunny colourful pictures!

A happy student at the end of a good painting day!

#340 'Boats by Albert Bridge' 10x12"

A one to one plein air teaching day with Christopher Michael, choose Albert Bridge area and we were lucky with lots of sunshine!

I helped Christopher with the practicalities of working outside, equipment, layout of paint and using a viewfinder and then tonal values and not including everything you see in your painting! Less is more.

For myself I am always looking to improve my work and move forward so this day I worked on richer colours, strong and painterly brush strokes. I assessed the painting back in the studio and decided not to work on it any more, leave it as an impression rather than an anatomical painting of boats and the bridge.
I'm pleased with the outcome!

Our Open Studios continue today, Saturday and Sunday, if your free come see my previous post for invite come by and say hello :-)

#326 'Footbridge to Eel Pie Island' 9x12"

An early start up to Twickenham on Friday morning. I wanting to make the most of this glorious weather, although standing in full sun was quite hard work! 

I painted at Twickenham last July with the Wapping Group it was my first time with them as I was nervous I chose a simple subject:

In comparison this painting is quite complex! You can spot the foot bridge in both. 

I have been painting for 2 years en plein air now and I do feel more confident and so able to choose 'harder' more complex subjects. Also being able to complete it on site in a time that works for the changing light. This one took 2 hours. 

I was on a busy through fare with so many distractions its hard to keep focused for example there were very noisy geese fighting over bread tit bits & delivery drivers reversing inches away from me - I must have been painting on the spot! 
Also when you are out there you are game for the publics point of view. Usually people are so kind, friendly and considerate but occasionally you get a plonker who thinks they know better and has to give their opinion, I had one that day and it did rattle me a little. 

The light had moved around, so the bridge wasn't lit by the end of the painting.

I loved the light on the water, the sweepy blue bridge and boats in the shadows. A restful scene that I will revisit.

#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!

#323 'Sunrise over Albert Bridge' 11x14"

I saw this scene last week on the Thames, it was quite magical!  But I couldn't paint in plein air as the sun was too bright off the water - I couldn't see the subject!
I did start a painting see below but when I went to work on it in the studio realised I was trying to get too big a picture in so I honed into the bit I really liked, not worrying that I cut off some of the bridge, just making sure the composition worked. 

Also using  a bigger board size than normal, which I enjoyed and worked well for the subject. I used larger brushes for as long as I could mapping in the darks. I graduated the tones from very dark of the boats, making it light as I went to the bridge, trees, background buildings... this gives a sense of space. Also as I lightened mixing the orange sky colour with the dark colour gives a feeling of light saturation - see the tall tower next to the dark bridge strutts.
The 'wires' on the bridge I put a main thicker one in first before the sky and other others after. Being bold with the strokes but a light touch as well - I use a Rosemary & Co Rigger. Where the sun was shining you couldn't see the wires so I didn't paint them in.
The boats needed surprisingly little painting, I put the main shapes to start in a thinned dark and then picked up the light on the top using a mid grey and nearer the sun a warm colour.
I'm really pleased with how this one has turned out.

#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....