Langstone Mill Finished Painting

Misty Morning in Langstone

Well, this is the finished painting in its frame which I have entitled Misty Morning in Langstone, as I have deliberately kept the colours pale to give that effect. That is my story anyway. In reality it works well, I think but photographing it was difficult. I had to wait for really flat daylight so as not to get reflections in the glass.

I quite like the trick of leaving out the horizon line which gives the scene a more misty look. I read this somewhere not so long ago.

Maybe another time I will try and deepen the colours a little, but always the danger that the misty effect might be lost

I am just packing up paintings for the Leatherhead exhibition which starts on Tuesday and goes on for two weeks. We will see what that brings. Nothing last time, but we live in hope

A very rare happening a couple of weeks ago, I actually sold a painting from my Artfinder site, thus proving that everything comes to he who waits. The painting was of the Bosphorus Waterfront, and went to a collector in the United States, which I am very pleased about

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Langstone Mill Drawing Stage

Langstone Mill Drawing

This will be rather faint, I’m afraid, as I only want faint guidelines before applying any colour

Two posts which mark the depth, and painted red and white like barber’s poles I have masked out. Also the flag pole which is white and the flag, both have been masked out for now. To the right of the drawing, which couldn’t be included are three small boats. They are near the horizon line, with one side in light and the other in shadow.

I am going to use pink as a background sky, moving in to a blue grey across the buildings and then pink again across the water. I need the background to look misty ideally, so not too deep in colour but not so pale that everything looks white still.

When that is good and hard I shall work on some of the details. I usually put the shadows in first, which I will do with more of the blue-grey, and that will give the picture some structure, on which to build. Likewise background trees in the grey behind the rooftops. The colour of these I haven’t quite decided, but they need some sort of red in them

I will need to check the sea-level so that it doesn’t look wrong against the buildings.

If I can do that and make sure that the shading is right around the pillars under the mill store, then I might have the basis of a decent painting

We shall see

History of Langstone Harbour and Warblington,Hampshire Coast

Watchman's Hut Warblington.JPG

Just as a change from painting, whilst I work on my Alhambra picture, before I have anything else to say about it, I am at the same time, researching the history of Havant in Hampshire based on my postcard collection, for a talk I am due to give to my local history group in Guildford in November

Havant is an unprepossessing town. I say that as someone who grew up there and therefore has an affection for the place. Nevertheless there is plenty of interesting history around and about. I keep within the confines of my collection, and on the eastern periphery lies Warblington, a Saxon foundation, a remote place by the side of a marshy creek, eerily quiet when I was a boy and still the same today. A week or so back I went to the old church to take some pictures to back up my postcards, and wandered around the churchyard. We were within half a mile of the Havant by-pass with its buzz of traffic and yet within the churchyard you could hear a pin drop. In my mind, I went back to my childhood when I first discovered this place as a schoolboy

The church is c13 and something of an enigma. Why build it there in the middle of nowhere? It still stands in the middle of nowhere. We are told there was a Saxon settlement, and the word Warblington stems from the name of the chieftain, a woman apparently, and there are Saxon elements in the foundations of the church . The church served nearby Emsworth, which still doesn’t explain why it was built at Warblington. On the site of a holy place perhaps? We don’t know

More interesting than the church despite its age, are the two huts, in diametrically opposed corners of the churchyard. If I say they are c19, I am sure you will guess that they had something to do with bodysnatching.  They are nightwatchman’s huts used to watch out for bodysnatchers who had posed  a huge problem until the Anatomy Act of 1832, which required anatomy teachers to be licensed, which effectively put an end to this lucrative trade. Also the medical fraternity were allowed the bodies of executed criminals or even donations from poor families.

In the churchyard of this creekside church are gravestones of sailors drowned at sea, and I quote the one I have always found fascinating.

Sailor's Gravestone

This the gravestone of William Palmer, and perhaps we should start with the inscription

This is in the memory of William Palmer that lost his life and his vessel going into Dublin the 24th February 1750 aged 38 years

The carved relief is intriguing and the work of a very skilled mason. Even the rigging stands out and would need very careful carving. Huge waves are rolling and the ship obviously capsized. The object behind the capsized vessel, I cannot make sense of

So we have a local mariner, a master mariner with his own boat, most likely involved in coastal trade as so many around here and Langstone were, and with a small crew, perhaps ambitiously attempting the crossing of the Irish Sea, not to mention the treacherous rocks around Lands End, and coming to a sad end. Or perhaps this was his regular run, and he was unlucky due to treacherous weather conditions. Dublin was very English in those days, and would be looking to regular supplies of day-to-day items, so one can easily imagine mariners plying a regular and profitable trade.

There are several Palmers buried in the churchyard. William’s wife is buried in the same grave but I can’t make out the dates. I imagine them being a prosperous family, judging from the quality of William’s gravestone

I remember seeing this stone when I was about twelve. It fired my imagination then and still does. It doesn’t look any different

I had thought to talk about Langstone close by, but another time. I have painted Langstone often but never Warblington which perhaps I should add to my list

Going back to the Bosham Painting

Bosham Underpainting

We are going back now to before the last two commissions, which I was pleased to take on, challenging though the last one was. I still await the final judgement from the client on that one, as she comes back from holiday on the 16th only, so fingers crossed under the table on that one.

I had started this painting of Bosham Creek, or rather drawing, with just the main elements in place.

So far I have added two dilute coats of watercolour across the page. Violet running into yellow, mostly with a watery coat of vermilion over the whole thing when bone dry. I dashed some pure yellow pigment into the area where I think the sun is setting. In the photograph this yellow shrieks at you. In reality it doesn’t. I am often intrigued how the camera sometimes disagrees with the human eye. Possibly one of those paintings which won’t sell on the internet, alongside a few others.

The hulk on the beach, I am hoping will provide most of the interest. The detailing on this sort of subject is usually a lot of fun, and tends to draw the eye. I noticed in the photographic reference, that someone has daubed white paint along the prow. I have used masking fluid here in a dry-brush fashion. Going over this later with dark brown pigment, and then removing the masking, should leave the illusion of white painted roughly over dark brown. I hope that makes sense. We will see later if it works or not. I have done it successfully in the past, which is of course no guarantee of success in the future

Since taking this picture I have started to darken the clouds and will gradually go on, wet over dry until I like what I see, hopefully. That will be the judgement, not getting them too dark or yet too wishy-washy. We shall see, and much still to do.

Sketchwork on Bosham Harbour

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I have been away for the last five days or so, in Spain with perfect temperatures of around 20 with gentle sunshine plus sea air. I’m back now to something like 12 and wet so feeling cold. Yesterday I rescued my garden and allotment. Today I am catching up on other things like my blog

I started last time with an indistinct photograph of Bosham Harbour, which I have done so many times, but this time in evening colours.  Before I went away I prepared some sketches and finally decided on the one which I have illustrated.

I have kept the distinctive distant shore line without much detail. That broach spire identifies the village of Bosham unmistakably.  From my archives I have included a different boat, which will add something to the foreground.  There were beached boats in the photograph which in my opinion did little, although I did include a couple of these to close off the side of the painting to he right.

I think I will use a mixture of violet, yellow and brown for the painting. I am more interested in how the colours work, than in the actual image, so the result may look like an impression of Bosham rather than a record of the harbour itself.

Before leaving this subject, I will mention that I am setting up an exhibition in Leatherhead, in the theatre on Monday morning.  Leatherhead is a town about twenty miles distant, so new territory, which is always exciting

Coming back to the Bosham painting, I will finish with another image, which is the basic line drawing transferred to watercolour paper. We are now ready to paint.

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A different aspect of Bosham Harbour

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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.

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

Marzamemi, Sicily: the story so far

marzamemei-part-way

The painting of Marzamemi, the fishing village in Sicily, which I have started and which is in its early stages.

Not much sky in this paicture which is useful, as I wanted the roof tops of the buildings to remain sharp if possible against the skyline. I used my old friend, the Mediterranean mix of Phthalo Blue and Cobalt for the sky, not wetting the paper beforehand, so that the colour didn’t run all over the place

I have tidied up the buildings to a certain extent and let the colour of the buildings bleed down into the sea. The sea colour is the same as the sky. I let that dry hard before going any further.

After a day or so, I picked up the painting again, and put some more colour into the sea. I avoided going over the reflections of the buildings, but just went over the rest with sweeps of sea colour, to give the effect of breeze ripples, I hope

I went right across the boats, risky I know but I think all the colours to be used on the boats will cover what I have done

Since taking this photograph I have introduced indigo into the foreground boats, for the detailing and deep shadow. I really want these two boats to come out at the viewer and command most of the attention.

Toying now which colours to use to be faithful to the original whilst at the same time, I want the combination to work as a painting. Winsor Blue perhaps which I haven’t used for some time, red along the waterline and white gouache. There will be some trial and error I think, so we shall see.

Every now and then I repeat that I am not an art teacher and have no qualification other than experience. I am very happy for people to watch, and if  what I do is helpful, then great. By the same token, I like to learn so alternative suggestions are always welcome

Marzamemi, Sicily : Composed Drawing

marzamemei-composition

Using the boat photograph and various other photographs which I took at the time, I have put together quite a simple composition, which I hope nonetheless will be effective

As a drawing, it is none too exciting, but when painted up, I am hoping that these bright, Mediterranean colours will provide the stimulus

With the exception of buildings on the far shore, nearly everything is blue or white. Different shades of blue, too, which will be challenging ( please excuse that overworked word) to do successfully as a watercolour

Textures will be interesting too. The boats in the foreground look as though their hulls have been reinforced with fibre glass, not too professionally, so that consequently the surface of them is quite rough. How to achieve that with a watercolour painting, I am not sure, probably with gouache applied thickly to give an impasto finish. Anyway we can play around with that.

We only had a short stop off here. Just enough time for a coffee, in one of the lovely little cafes in the main square, which was charming, and a walk round the harbour, which is a mix of boat repair workshops, restaurants and boutiques. That may sound an unlikely mix but seemed to work well.

Marzamemi is fairly close to Syracuse, the history of which is fascinating, and a chapter in itself. Around that eastern part of the island, we had spent quite a lot of time visiting spots used on location filming for the TV cop series Montalbano. If you are not familiar with the series it was broadcast from 1999 until now, something like 11 separate series, so very popular. Marzamemi was not one of those places, so something of a relief in a way. Don’t get me wrong, I have watched the series at home, and it is very good, and we knew what we were going to look at before we joined the tour, but there was a lot of it

As I say, I enjoyed watching Montalbano at home, except I would have preferred subtitles to a dubbed voice. Dubbing never works for me, always slightly out of sync, and you don’t have to be a lipreader to see the face doesn’t match the dialogue. I much prefer the Scandinavian crime dramas like “The Bridge” which we get which are subtitled.

But I am going off the point. Enough to say that Marzamemi was delightful and I look forward to doing this painting.