A different aspect of Bosham Harbour

DSCF3969

i think I may have mentioned ad nauseam that Bosham Harbour with its ancient church is a favourite subject for painting, and is widely known

If I am preparing for an exhibition, I usually like to have at least one view of this beautiful little place. The problem is that everyone wants the same shot, across the harbour with the church against the skyline, so painters, like me, are continually looking for a way to paint this view, and yet make it look different every time.

I came across the attached photograph a few months ago, which interested me. As you can see, it is a gentle evening shot, with some bright sky and some very deep silhouettes. The details are blurred, which is not something I usually do, but found myself intrigued nonetheless. The effect could be impressionistic, which again is not something I usually do. The other thing I liked, is that, when translating this into a painting, one could use a very limited pallette, which I find improves the effect very often. In this case, we are looking at yellow and violet basically, which generally work together very well.

I haven’t used these two colours for a while, so the idea is attractive

I am not sure about how I feel about the beached boats in the immediate foreground. They are certainly an aid to perspective, which I can appreciate, and yet in your face just a bit. I think I will draw some of these separately on tracing paper and chase them round the composition to see what I like best. I have been through my archives of boats too, and have sketched one or two of those, again to see what works.

Despite what I said about getting away from detail for a change, I don’t want meaningless shapes either, and unlike photographers, artists can choose what goes into a composition, which gives us an advantage, so I might be able to get away from that rather shapeless foreground.

I think there will be quite a lot of work with little bits of tracing paper, before we hit on the right composition, so we will see what happens. Yet another journey into the unknown.

Advertisements

Goathland ( or is it Hogsmeade ) Railway Station Finished Painting

Goathland or Hogsmeade Railway Station

The finished article

I had no idea how this might turn out. I was attracted by the colours at first. Whoever thought to paint the station and rolling stock in that bright red, and then place them all against all that greenery, certainly had an eye for colour

I am old enough to remember the old British rail rolling stock, which was long past its sell-by date, fifty years ago, perhaps without us knowing. In the 1970s I worked for a company manufacturing furniture, and remember sending consignments in the old British Rail B container down to Switzerland. They were cheap is about all you could say. The journey took several days and the containers let in water, because as I said, they were old. We changed to transport by road using a Swiss haulage company, and the service improved dramatically, but sad nonetheless.

The colours were familiar though. Perhaps more weather beaten which faded the colours, but nevertheless I remember the trucks either as a worn pink or perhaps a deeper browny red

In any event, I have left the colour of the goods trucks slightly on the bright side, in order to stand out against the trees. Who could remember what they looked like as new. We only ever saw them after wind, sun and rain had taken their toll, not to mention smuts from the steam engine, which would have been shunting them in those days

I ended up liking this painting. I can spot mistakes, of course, but enjoyed working on it. Whether the painting will prove saleable is yet to be seen. I have stopped trying to predict what will sell and what won’t, as I am wrong so often

I have the Leatherhead Theatre exhibition coming up, so may try to get it in there.

We shall see

Goathland Drawing

Goathland Drawing

This is my rough sketch of Goathland Railway Station, used amongst other things, for the model for HogsmeadeĀ  Station on the Hogwartes Express, says he, knowing virtually nothing about Harry Potter

I moved the composition out on both sides from the original photograph. I managed to find some more material on the Internet, not much, but the little I found was helpful. On one side there is a siding used for what looks like, Pullman coaches. I have the colour at least, which seems to be mostly cream with green

On the left hand side, I was able to complete what looked like a railway shed. It was more or less what I guessed it should be, but it was good to have it confirmed.

Now comes the tedious part, as you have heard me say before, of transferring the sketch onto watercolour paper, as a line drawing, hopefully improving the accuracy as I go. Some little while before I get round to that I expect

Some news about exhibitions. I finished the show at the Guildford Institute and sold one painting on the very last day. It was the one called “Bikes and Canals in Amsterdam” which I was pleased about, as this was rather a different subject for me. One painting is not remarkable, I know, but the Institute is not a busy place like a hospital, for instance, but I like showing there as it enjoys local prestige, and gets you talked about.

A couple of days ago, I was approached by the theatre in Leatherhead, which is a town about twenty miles from where I live. They are opening an art gallery for local artists, and wondered if I would support them, which I am doing. I am taking a small section of wall space as a trial, and will be showing there from 1st to 14th May

It should be an interesting experiment. I haven’t tried the Leatherhead area before. The theatre also draws from the town of Dorking, and the surrounding villages, so I remain cautiously optomistic, as always. The gallery organiser supports the exhibition with local publicity as well as social media. Some of this activity is directed towards private galleries in the area, and again not a segment of the market that I have approached before.

So will make an interesting punt. We shall see

Goathland Railway Station or Hogsmeade if you prefer

DSCF4015

I borrowed this photograph from Simon Jenkins’ wonderful book, Britain’s 100 Best Railway Stations. Shame about the centrefold but I’ve pressed it out as best I can. This is Goathland Railway Station. I’ve never been there but feel I have, as this station was used as a backdrop for that delightful TV series Heartbeat, and of course, it was Hogsmeade Station on Harry Potter’s Hogwarts Express.

I have been to others like it, some in the north of England and others closer, some rescued by enthusiasts, with others like the Settle/Carlisle Railway, brought back into the national system by popular demand, having once been axed by Doctor Beeching in the 1960s.

This view is made to be painted, and I give credit to Simon Jenkins and trust he will forgive me, if I borrow it.

It will not be slavishly copied. I need to take the image out to the left and to the right, and I have found material on that wonderful Internet, which shows a siding to the right with coaches, and to the left enough of the storage shed for me to complete

Drawing will be challenging. How to tackle those railway lines, remains to be seen, and we can make a judgement afterwards, but for now, let’s get to it

Finished Bosham Panorama Painting

Finished Bosham Panorama

and there it is waiting to go into its long frame

That will then complete a collection of twelve paintings for the coming exhibition at the Guildford Institute from 19th of this month

Since the last post, really the work was purely detailing, using dark brown, white and cadmium red. I have drawn in some buoys and odd details like that

I bought a new detail brush the other day, designed by Matthew Palmer. It has a large bole which holds a good supply of water, but the tip comes to a very fine point, which produces a line rather like you’d expect from a pen. I think it was designed for painting very thin branches and twigs. It also works well for fine rope work, and window frames

Huge sigh of relief now that the exhibition collection is finished, all but framing the last one

I can now look at catching up with a few paintings for pleasure. I love doing horses and have made some initial sketches, from which I think I can put an interesting composition together. I have gone back to drawing by eye instead of using a grid, which not only saves time, but also is comforting to know I can still do it ( or think I can)

I will publish the horse drawings at another time

Bosham Panorama for the Long Frame

Bosham Panorama Starting to emerge

Emerging from the sea mist almost

This is the start of the panoramic painting for the long frame which I mentioned recently, which I am hopeful for, but we shall see

For sky and sea I used a mix of phthalo blue and cobalt. For the sunset sky and reflection in the water, I have used a mix of Cadmium Orange and Permanent Rose. I was not pleased with the initial result, as the sky came up very orange indeed. I applied coat after coat of Permanent Rose, wet on dry, which when dry, appeared to have made very little impact. Eventually the sunset turned pinky red, and I quite liked the effect of the pink over the blue. Where the blue had gone on sparsely, the pink soaked in, and started to look like pink clouds on the blue sky. I am not sure whether this shows in the photograph.

In order to get the effect of the low sun on the rooftops, I will need to glaze the buildings with something like Light Red and if that goes too brown, then a thin wash of Cadmium Red. Sparingly, of course, as that is powerful stuff.

There is masking fluid to come off, where white buildings have caught the strong light. I should have mirrored that in the sea, but forgot, but I think I can rescue that with White Gouache.

Dark shadows to go in with dark Brown which will accentuate the light, I hope. Also some small boats for which I will use the same blue mix, and white masts, should add to the effect

I am hoping so, as exhibition time draws near

The Finished House Portrait

Finished House Portrait

Well, the portrait is finished and shown to the client who is delighted. I don’t usually allow myself satisfaction, but even I think that this one turned out well. It just has to be mounted, which I shall do in the new year. It isn’t required until the middle of January so that should work out nicely

Basically, all that I needed to do since the last post, was to put in the shadows. Half the gravel drive was covered by shade from a large tree just off-stage, which also darkened the hedge. Some intricate shadow underneath the porch gave shape to the covered interior, and even the cartwheel stands out more now from the wall

Some dark detailing was added to the shrubs on the left. Somewhere in the deep tunnel made by those shrubs is a white garden gate, which I have shaded. Most of this I had to guess, with the help of some alternative references

I enjoy house portraits. I’m not sure why. This one will go on my website one day

But for now to resume my exhibition work, as time does not stand still

At this time of year, may I wish all who read my blog,warmest greetings and good fortune in the coming year

House Portrait: Part Finished

DSCF3964

Getting there but not quite. Still some detailing to be done

Apart from changing some of the trees on the right-hand side, I have kept as faithfully as possible to the subject. I have left out some of the dark coniferous foliage that was intruding in the right-hand corner. I didn’t like it, and it was very much “in your face”, and so detracted from the house, which should remain the star of the show. I hope the client agrees with me, but I could always put some in, if she insists.

I put a distant tree in behind the ridge of the roof, just to alleviate that line. The sky itself is bland, as I wanted the building to come forward. For the roof colour I glazed burnt sienna over raw sienna, and then when bone dry, glazed light red over the burnt sienna. I did the same for the brickwork, hopefully to give an impression of bricks being sunlit.

I have just started to put in some of the shadow, but have by no means completed. As soon as you do that, the building takes on a third dimension, and I love watching the house come towards me. Once the shading on the house is complete, I shall put some dark shadow on the hedge to the right. As well as that, dark shadow on the gravel, about halfway, which will help to make the rest of the drive, look bright. That is the plan

On the left-hand side I see from other pictures, that there is a white gate deep amongst the bushes which is just visible, so I will need to include that, as well as some extra dark in the shrubs, as well as shadows from them.

Still some way to go, but being a mad time of the year, I am reduced to little and often, which I don’t mind, as I can judge each stage as it dries out. As we all know, the difference between the wet pigment and the dried-out colour is quite significant.

Every so often, I take pains to point out, that I am not formally qualified to teach painting, but if you like watching me work, and if you find what I do to be helpful, then I am very pleased to welcome you to my blog. Especially welcome are more recent followers, whom perhaps I haven’t addressed before

House Portrait

DSCF3956

I have interrupted the study of the bridge over the Basingstoke canal, as I have been lucky enough to be given a commission for a house portrait. This is the first this year and it is only December. Last year I was doing something from the web site every other month.

This will be a gift for a couple moving after 40 years in this lovely house, and a painting will make a lovely memento. I do always feel privileged to be entrusted with this sort of task, and naturally will give the job my very best attention

This will be presented by another family member, and will be a surprise for the couple concerned. My job will be to make it a pleasant one

Crazy time of the year, of course and many things happening, year end, which I am involved in, so I am working on the project during spare moments. Luckily I am not under much pressure to complete to a deadline

So far I have prepared a working sketch with tonal work, which will help me place the details in my head and also let me know where the shadows are. I will flash the sketch up next, so you can see where I have got to. Next, the tedious bit, moving the drawing onto watercolour paper, but it has to be done

By way of a PS, we had our annual art exhibition at the week-end. By we I mean the Pirbright Art Club, and I am pleased to say that I sold “Salt Mills at Trapani, Sicily”. The painting is somewhere in the archives if you wanted to check it out. So, after a very slow start, sales have not been too bad during the second half of the year

Working Sketch

Again, because of the importance of the task, I have used a grid to get architectural details in the right place, I hope

I love house portraits, and am looking forward to getting back to this one

Bikes and Canals: the Finished Painting

DSCF3952

The finished painting of bicycles, canals and houseboats in one frame

Since the last post, there is not a lot to add. The bicycles have been finished from the sharpest detail retreating backwards. I find it easier to adapt the focus doing it that way, so that the perspective works out correctly. This was a real jumble of mechanical detail to sort out, but amusing nonetheless

This will go towards my exhibition in the spring, in the Guildford Institute. The theme is Waterways in Watercolour, which on the face of it is straightforward enough, but trying to think of a subject that I haven’t done before, does make me scratch my head

I need twelve pictures within the theme. I think I have five so far. Ah well, press on