Bikes and Canals: the Finished Painting

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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

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Bikes and Canals : Work in Progress

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Some work done over the last few days

The buildings on the far bank have received some colour, some pink and some violet and some a mix of the two, to establish as near as I need the local colour of the brickwork. So far I have added little detail to the windows and doors, as I want them to fade against a sharp foreground of bicycles. I have done a little work on the reflections of the buildings on the water but not much, and will go back to that

The houseboats have been rendered in sharper focus, without necessarily detailing them too much. The bright yellow I think has worked on the distant boats, giving them an illuminated effect from the light source on the horizon. The hulls have been darkened with indigo, as they are in deep shadow, and I have let this colour bleed down vertically to provide the reflections in the water

I have extended the canal to the left, which I quite like as it gives the composition some extra depth. The bikes will be in the sharp foreground, but if they weren’t exactly centre stage, I wouldn’t mind

I was looking forward to tackling a bicycle, just to get a better idea of the relationship between foreground and background. I have painted the first one. The colour of mud guards etc was yellow, and I have kept to that, and in fact have used Indian Yellow, which I think works well against the violet/pinks. Just my opinion

What to use for tyres, chain guard etc which are really black in the photograph, made me ponder, as I veer away from black generally if I can. I mixed some ultramarine blue with transparent brown and made a very dark grey. I went back in with the indigo, which worked, I think as dark highlights on tyres etc, and produced a nice blue-black on the chain guard and seat. Some more detailing still to be done on pedals and rear-lights but I have enough to work with at the moment

I feel there should be long shadows, and don’t know what to do about them. Too many lines will be confusing, but once laid cannot be removed. Such is watercolour. I may leave them out altogether and claim artistic immunity. We’ll see

 

Bikes and Canals in Amsterdam

Amsterdam

Amsterdam is a lovely city. I have been there many times, and have often thought I should try to paint it, with its canals and barges and its tall houses. Unfortunately I don’t have any photographic references to speak of, so that has held me back, until now

As it happened, my son and daughter-in-law were there recently, only for a short while but managed to take a few pictures for me. I asked them to include, if they could, bikes, canals, tall buildings and houseboats. Well, they got all those in this one shot

Now it is down to me to make a painting out of it. Hmm, I do like a challenge.

Something has to be done with the composition. I don’t know what yet though. That barrier rail on the right-hand side will go, I’m sure. Thousands of bikes, literally, go into the canals every year, so a few more will make little difference

I have started to draw the bikes, and it is not easy to sort out, which handlebar belongs to which bicycle. Maybe there is a case for cutting down on some of the detail in that group of bikes, so that the image is less muddled. I will let that evolve as I go on, I think.

I will have to alter the light to make the picture more interesting, otherwise the scene is very grey and could appear tedious as a painting. Add some sunlight in the background perhaps and deepen shadows in the foreground, which should add to the depth of the picture, otherwise could be very flat indeed.

This one has possible disaster written all over it, so if successful, I will have cause to celebrate

We shall see

Canals of Venice

Venice Drawing

Today my colleague in paint, Elaine and I set up our joint exhibition at the Royal Surrey Hospital in Guildford. I have to say that it did look good. It will be on for four weeks, and now one has to forget about it, which is never easy, as it is so tempting to check one’s emails

Having said that my exhibition work is over for a while, I am reminded that on the 29th July, our local club, the Pirbright Art Club are holding their summer exhibition. We call it the “Railings” as we hang our paintings from the iron railings around the old village hall. It does look quite effective

However all my best stuff is at the hospital and will be until mid August, so a bit of a problem

There was a Venice picture which I wanted to do, and I have attached the photograph as well as my line drawing version of it. I am going to try and complete this by the 25th when we have our “auditions” for this exhibition, so at least it will look as though I am trying to support our local show.

The photograph, I found startling, with the brightness of the colours and the deep shadows, both complimentary and both fascinating to attempt. Some lovely deep oranges and some texture work with these bright colours, should be very satisfying to do. There are too some really good architectural shapes, such as the Gothic window which I hope to give more prominence. I have omitted the window next to it, shown in the photograph. The architectural iron work of he balconies is a study in itself

Anyway that is my next task, which promises to be fun

Sacre-Coeur de Montmartre: the finished painting

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The finished version of Sacre-Coeur de Montmartre

There are still things I look at and feel like going back and fiddling with, but I have learned to resist that, and have finally decided that the painting is finished

Since posting the underpainting, I have been back in with stronger versions of the Transparent Brown and Violet mix, bringing, I hope,  the image closer to the eye, as the detailing becomes sharper

I have had to resist making the detail of the basilica too sharp in order to give the impression of distance. The shadows in the garden and on the steps I have deepened. Likewise the foreground figures, with the obligatory spots of red in the foreground, which are discreet, but they are there.

If I can find a suitable frame, I should be able to include this one in my July exhibition at the Royal Surrey Hospital in Guildford

I bought recently an interesting frame in a driftwood texture, which is comparatively long with the mount divided into four spaces. They are usually used for photographs. I bought it at a craft fair recently. At the same fair, a watercolour artist was showing , and had included one of these frames with four individual pictures making up a wide scene, which looked very effective. I thought I might try something similar. Not the same picture, I hasten to add, but a retake on something I have done before of a long line of beached fishing boats in Devon

I have finally launched my Artfinder shop. The application form was a bit of a marathon, but the support staff were very helpful indeed. I know they are supposed to be, but sometimes they aren’t. The young woman at Artfinder who I think, took pity on me and patiently answered my questions, helping me over the hurdles, was truly excellent.

I have only listed six paintings so far, as the uploading can take a time, if like me you don’t get the sizing right always, but there will be more as time goes by. We’ll see how it goes

Sacre-Coeur de Montmartre: Underpainting

Sacre-Coeur Underpainting

From the drawing I have got as far as providing a base coat for the painting. As you can see, I have added some foreground figures from my archive, just to deepen the composition

Basically I have put in the shadows, which in effect gives the subject its form. For the church and figures I have used a mix of transparent brown and violet, which has gone a bit too grey for my liking, so colder than I wanted. I had run out of Ultramarine Violet which I normally use, so used Windsor Violet instead which is more blue than I expected. I will run a wash of transparent brown over the shadow, when bone dry, just to warm them up, and then work in the detail.

I sometimes prefer this stage to the finished painting, when the buildings seem to loom out of the mist.

For reasons best known to myself, I have finished the trees and shrubs first. I don’t usually do that, and have probably made it hard for myself to strike the right tonal balance. Oh well, let’s hope it works out

I am also in the middle of trying to set up an online shop with Artfinder, who come recommended. Nothing like the sales that I enjoyed last year, either locally or from my own website. Maybe it is the Brexit effect slowing down our economy. Anyway I have to try something different, so I will doubtless post when I have done it successfully, and also on social media

Notre Dame de Paris: back to the drawing board

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It is now nearly a month since I last did any painting, and I have missed it. Either because of festivities or through illness, I have not been able to get to my easel. Even last week, I had a relapse and have been given a second course of antibiotics which I have to say, have made me feel much better.

The next item on my to-do list, was to rework the painting that I did last year of Notre Dame de Paris in the Rain, except leave out the rain and inject some sunshine. I showed this painting a couple of times last year, without any interest being shown. Although to paint a scene in rain is skilled in its way, nevertheless the subject matter in itself is quite depressing . The colours become muted and everything looks dark. Would you want to buy a painting that lowered your mood? Probably not, so I am going to try to paint the same subject on a bright day, with colours more vibrant. Still could be autumn or winter time, but one of those bright days with long shadows.

What I have done more or less immediately, is to remove that unsightly marquee from the left of the picture. You may remember it, or you can scroll back in the gallery and find the original. I managed to find on the net, the buildings to the left of the cathedral, distant apartments and shops possibly, and these have been substituted

I have also rearranged the figures in front of the cathedral. By removing some, I have taken out the queue that was filing towards the entrance to get in. Looking back on this, it seemed quite mournful, like figures queuing for the dole. I have given the crowd, I hope, a more random look, so that hopefully they do now look like tourists, and consequently looking more interesting.

To the right of the cathedral, and out of sight, is the wonderful statue of Charlemagne. I considered moving it into the picture, but decided not too. Too much of a statement, which would have competed for attention with the cathedral itself

So, a start has been made which is always the hard part. I’ll get on with some painting and come back when I have something more to say

Chichester and Pallant House Art Gallery

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Chichester Market Cross and Cathedral

We were here on the 31st. A lovely cathedral town with its c14 market cross, and one I remember from my youth. Pedestrianised many years ago and rightly so, I remember when traffic drove round the cross, and double decker buses clipped bits off it. Now it is safe from that sort of damage. There are still a few of these market/preaching crosses about, Winchester has a good one for example, and they need to be cherished

The city is Roman originally. Noviomagus, the new market, I believe. There was a straight road to London built by the Romans, called Stane Street. It is still there, but now called A24 and A29. It has one or two kinks in it, as it had to get through the gap in the Downs for example, but basically is straight as a die from Chichester to London Bridge.

The cathedral needs a separate chapter, and is one of the finest in England, but our main reason for going there was to visit our old favourite , the Pallant House Art Gallery, which houses a wonderful collection of modern art.. The collection includes names like Hepworth, Moore, Piper and Sutherland. Incidentally in the cathedral, there is a magnificent tapestry backdrop to the altar, designed by Sutherland. There is also a wonderful window by Marc Chagall, not always remembered for stained glass, although he did many. But I digress from the art gallery

Founded on the collection made by Dean Hussey of Chichester Cathedral , it was bequeathed to the city in 1977, on condition that it was housed in Pallant House, a Grade 1 listed Queen Anne townhouse built in 1712, for a wine merchant called Peckham and his wife Elizabeth.

The collection was added to by further donations over the years, and the impressive collection of artists represented, includes now Cezanne, Leger,Sickert,Lucien Freud, Richard Hamilton and Eduardo Paolozzi

As well as paintings, there is an excellent collection of c18 Bow porcelain

The new wing, a superb example of a modern building blending well with a Queen Anne townhouse, won the 2007 Gulbenkian Prize and was also listed for a RIBA award the same year

I try to stop after 300 words but have rattled on

Thanks for your comments on Bosham Harbour, now framed up and in store ready for the March exhibition. Thank you to those of you who enquired about this exhibition. The details are:

Guildford Institute, Ward Street, Guildford, Surrey, UK in the Assembly Rooms

Dates from 13th to 31st March this year

Thanks again

 

 

 

 

 

Bosham Harbour and Church: the finished painting

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The finished painting finally!

There wasn’t too much to do since the last post. The boats had to be detailed and their reflections put in.

The boat in the foreground had a dark blue spinnaker tightly wrapped, which is probably the wrong word. I am not a sailor, and although I enjoy painting them, I am not up in boating terminology. The next nearest boat, had a spinnaker in orange and red which was highly convenient for the colour composition. I used a red buoy, and the reefed sail was also red. Again apologies to sailors if I have that term wrong. The furthest boat almost did itself really

So there it is. After the commissioned painting of Bosham worked out so well, I really wanted one myself for the March exhibition. This one, I think, will frame up well. Incidentally this is one of those occasions when the jpeg does not do justice to the original, which is softer somehow.

I have been looking at my list for the exhibition, for which I want fourteen framed pictures in all. I need to repaint the Notre Dame with Pigeons picture in a different mood, probably in bright sunshine and also missing out that dreadful marquee, which will make it look more attractive to people

One of my existing local pictures needs to be reframed, and there is also a painting I want to do of Sicily which I hope will turn out well. With what I have already, I could put fourteen pictures into the field, without doing more

Not that I will stop, of course, because I never do, and anyway there are other exhibitions coming up throughout the year, so still much to do. Inevitably if I have something better, I will change the entries for the March exhibition too

Hopefully in the coming weeks I will be talking about more work as I complete it

Bosham Harbour: continue with the painting

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It seems a long time ago that I touched this painting, and in fact it is the best part of a month, which for me, in between stages this is too long. I have totally lost the thread of what I had planned for this picture, so I shall have to rethink it

We went to Germany for the markets, where I became ill with some virulent chest infection, and then celebrated a family Christmas over three days. Now different branches of the family have flown off to Spain and to Thailand, and so peace descends.After a morning sorting a few things out, I started to look at my easel again, and with confidence surprisingly ebbed away, I picked up my brushes and started to get my mind round the picture and how to tackle it.

If you remember the first post that I did on this painting, you will see that I have added the reflections of the quayside houses and the Saxon church. It may not look much for an afternoon’s work, but that is what it took me

I find with reflections that I do an awful lot of zooming in and out again. That is, I paint a bit and then go to the door and look back. I don’t do a mirror-image reflection, I never do. Some people do and do it well. I like a reflection to look as though it is on water, and not on glass. In other words, it has to wobble a bit, and the colours don’t reach the same intensity as the buildings themselves. But that is me!

I altered some of the houses and gave them a white facade. They were a bit too gloomy, and no distinction between any of them. There were also some flagpoles and masts of boats outside the yacht club to be added.

I am generally happy with the reflections. I think they look like reflections, although one or two need tidying up

The other thing I did was to put shadows into the boats. That has to harden and then I can start on detailing them which will be a long job. I still have to decide on colours. Red for one of the reefed sails and also the spinaker, as that will make a nice reflection. The others to be decided

Decisions, decisions!