A Completed Commission

The Final Version

This is the last commission of the year, and it is finished, I am pleased to say. I have had to keep in touch with the client, at every stage of the painting, which I don’t usually do, as it does make a lot of work . Having said that I have enjoyed this commission more than I thought, and maybe stage by stage consultation is not a bad idea, certainly after my last bad experience

However, they were nice people to deal with, and although they made a few changes here and there, basically they were onside.The painting was collected today and I am pleased to say that they were thrilled with the result

The subject of the painting was a Victorian cottage deep in the Surrey woods. Probably it had originally been an estate worker’s cottage, built around 1840 with a later addition.

I went to look at the cottage quite early one morning. The sun had risen. At this time of year, the shadows are long. The woods behind the house were brightly lit, most of the leaves had gone, and the light filtering through the branches gave them a translucent feel. To get that effect on paper needed thinking about. I used a colour that I don’t use often, quinacradone gold. It was perfect for the job and just gave the effect of sun-bathed trees that I was looking for

Most of the house was in shadow. I removed some as I wanted the effect of bright sun hitting the brickwork here and there. The combination of light and dark should be dramatic

When I was on site, the client brought their little dog, a Labrador bitch puppy. She was a beautiful colour, gold. Would I include her in the painting. I like to please, so I said yes, but I was anxious. I have painted dogs before but never done a dog portrait, especially one so tiny. She would be the size of a fingernail

I had taken some pictures. I have to say that for a lively puppy, she was very well behaved and posed beautifully. I picked one of the photographs and did a full sized drawing, which I was pleased with. I then reduced it in size to a thumbnail and put it in the sketch, and went on from there. When the time came to paint, I used the same gold as the trees in the background, and used more of the same for shadows on the dog. It worked better then I thought possible

Mostly straightforward otherwise, except that I could not get definition to stay in the cottage features. Overnight the colour would dry and disappear, which is not that unusual in watercolour. Eventually I reddened the brick colour with vermilion, which darkened the building and somehow improved the brick texture. Again something I have learned for another time

Commissions can certainly be testing, and very occasionally go awry, like my last unhappy experience, but they can also be broadening and make you attempt something you wouldn’t normally tackle. Will I start doing animal portraits? Hmm perhaps not, but animals in landscape are a possibility

House Portrait Completed

The Finished Portrait

There was quite a lot of detailing in this one. Different things were asked to be included, which I have done, but because of the scale, they have ended up as rather tiny. I was worried about that. Things like different coloured pots and also some blooms slightly out of season. Let’s hope they don’t disappoint

The car port and furniture store relationship on the left hand side, took some working out so that each was distinguishable. I did wonder afterwards whether I should have recommended leaving the furniture store out completely. The car port is a nice building, almost barn-like with its hipped roof, and it would have stood alone quite easily. However I didn’t. I painted what was there, which is the honest thing to do.

I reduced the enormous expanse of gravel with shadows coming in from trees which were off stage. I think that improves. Not really a follower of feng shui, I have left, nevertheless, an uninterrupted view of the path leading to the front door.

Some of the colours I have changed as well as scaling down the sizes of some of the shrubs. Generally a mix of reds and greens , I think the colour scheme works well, although some might disagree.

I now have another commission, another house portrait, which I went to see a couple of days ago. This is a rather charming cottage out in the woods, built around 1830, so lots of character, which I am shortly to start.

Just when it looked straightforward, I was asked to include the dog. Oh well, another challenge

House Portrait : the painting commenced

The house portrait so far

Still in early stages, the painting appears to be coming out of the mist

The drawing is done and some colour has been applied. Cobalt blue sky and raw sienna as a base for nearly everything else. Some very pale and distant trees, and guidelines for shadows I have put in along the side to the left.

As far as the house is concerned I have put in shadows in blue which has managed to build up the general form of the building. The house at the back I have formed in brown and blue.

The car port, I have done more work on, with the final roof colour and the skylights. The furniture store in front of the car port makes the grouping ambiguous. I wish now I had insisted on just the car port but I didn’t so I am stuck with it. This will require some thought

Before strengthening the brick colour, I have put in the wisteria and the virginia creeper, as I shall have to paint round them

Very easy to lose heart in this stage of the painting, but the painting must be finished so I carry on. In fact since writing this I have put a coat of Burnt Sienna on the brickwork and already the house is starting to move towards me

That’s all I can say at the moment

House Portrait: the Preliminary Sketch

The Preliminary Sketch

I’ve just done this from the photograph. This is,of course, a commissioned work and I have to visit the site next week. Seasons have changed so may well look different, but this will do for now to work from. I will take some photographs of my own which I prefer, so that I can clear up some details which are ambiguous at the moment.

For now, there is little more that I can do before I see the actual building, and as I say, the colours have changed. The original photograph that I had was from the summer, and now everything is autumnal. As far as colour schemes are concerned, I prefer that. There should be some bare branches as well.

I just have to hope that the sun will be out, so that we get some lights and darks. For weeks now, the weather has been wet and the skies have been heavy. This is quite hopeless for painting, but as always we must work with what we have got.

Some news from the exhibition at the hospital. I have sold one painting entitled Canals of Venice, so not out for a duck, which is something

I shall be able to add more next week

Erquy in Brittany: the Finished Painting

Erquy in Brittany

The painting is now finished, in that I have started to fiddle, which is a good time to stop

Getting the sand/mud to look waterlogged has been a problem, and I have settled for what I’ve got, rather than end up with a surface which looks dark and unconvincing. I did mask out some tyre tracks which had filled with water, and then touched them in afterwards. They seemed to work well enough.

I have taken the mask off the lighthouse, and painted that in, with its red domed top, that attracts the eye. Two tricolor flags on the boats give another opportunity for small dabs of red too. I tend to use vermilion now rather than cadmium red, which seems to work.

Some of the figures and dinghies have bled into the wet, which I have allowed, as I think that gives a hint of reflection.

I think I have taken it as far as I dare without spoiling, so will leave it now as complete.

I have a new commission arrived, a house portrait, which is highly convenient so will start on that soon

Erquy: the Drawing

Erquy in Brittany

I have done some drawing and also started to paint as you can see. Nothing startling, just the background. The lighthouse has been masked out, so it can stand out stark white with red at the very end

I have also masked out some of the tyre marks in the sand which are full of water, hopefully to recreate that image. The composition itself I have altered slightly, but only slightly, as really not much improvement is necessary. The fishing boats have been beached at low tide, which immediately offers an interesting picture for watercolour. There is light coming from the left, offering shadows as well as possible reflections.Some boats were left out, and one different one added. Otherwise the scene is much the same as it was in 1972

I needed some human activity so added the two figures in the foreground. They are actually copied from the figure in the distance. I had to guess the perspective, so I hope it looks convincing. Both figures are bent over as though hauling on some imaginary chain, so a little bit of narrative

I have added shadow to the boats just to give them form, and to guide me when I go to paint them in. One or two extra dinghies as well. I may well have to add somehting small in the centre, but I am not sure yet.

That is as far as I have got. So far so good I think

The Royal Crescent Hotel in Bath, finished painting

The Royal Crescent Hotel

This commissioned painting is finished and approved, and once I have cut a mount and signed and dated, then this will be going off to its new owner

Testing in many ways, classical architecture doesn’t leave a lot of room for error, nonetheless enjoyable to do, and I am happy with the way it has turned out

I shall be otherwise engaged for a few days, but as soon as I can, I need to start on another commission, which is a really interesting looking house portrait. That will need a shetch for approval before getting started.

Added to that I have an important exhibition coming up mid October at one of the local hospitals. This is one where I usually sell. I pray that I sell something as I am bulging with framed pictures. It’s lovely to sell on the internet, but I get left with frames. However, a happy problem

So quite busy for a while

I don’t know what made me do it, but I started going through boxes of slides which I took in the 1970s. Some of us can remember that colour photographs were made into slides at one time, for projecting onto a screen, for amusement of family and friends with our holiday pics, or not as the case may be.

I found amongst the many, a lovely shot of a fishing harbour in Brittany where we stayed in 1972. I have had it printed so that I can work from it, and that will be up after the commissioned work.

Much to do

The Royal Crescent in Bath

I have been commissioned to paint the facade of the Royal Crescent Hotel in Bath. which is a beautiful building in a beautiful city

Bath was made especially fashionable in the c18. It was a spa town. The rich and the famous went there for their health, to take the waters and to see and to be seen. It had been famous for its natural spring waters since Roman times, and the Roman baths today are a favourite tourist attraction. The Roman name for Bath was Aquae Sulis, or the waters of Sul. Sul was a British god whom the Romans adopted, so presumably the spring waters were venerated long before the Romans arrived.

The Royal Crescent

This is a long shot of the famous crescent. Sadly a dull day when I was there so the light does no justice to the lovely Bath stone which is a gorgeous honey colour. I have been commissioned to paint the hotel which is in the middle of the crescent and has a larger central window than the rest of the houses in the terrace

The terrace was designed in 1774 by an architect called John Wood the Younger. It looks out over parkland to this day, and has earned the soubriquet of “rus in urbe”. The Royal Crescent is considered to be the finest example of neo-classical architecture in the country, and has been imitated in Brighton, Buxton and London

I now have the task of doing this fine building justice in paint, which should prove challenging to say the very least.

Eilean Donan Castle Painting Completed

Eilean Donan Castle Completed

The painting completed

The foxgloves were really all that was left to do. I took great care with the colour match, yet still they turned out a tad too dark. I did actually remove some pigment which put in some highlight, and I thought they might dry lighter than that, but they didn’t. Perhaps they are a more exotic species.

Having said that, I quite like the colour even if not authentic. They give a welcome relief to all that green

I’m sitting here typing and my spotlight is on the painting, and the flowers look quite good. I shall have to recommend front lighting to anyone who might be interested

Not sorry to put this one to bed and perhaps move onto something else

Eilean Donan castle Painting part Finished

The castle Part Finished

This is the painting so far

Still quite a lot of green even though I have left some out. I am hoping that the green effect will be mediated by the two foxgloves in the foreground. I have just removed the masking, and I think the shapes will work well enough. I only have to get the colour right. Permanent rose with Crimson I am told by my reference books, but no clue how much of each so I will have to do some trials first. Also some more green for the stalks but I have a bright green in mind for them

I have put the little figures in on the bridge, and tiny as they are, seem to add some life to the composition. Also they gave me an opportunity to add a spot of hot colour into the painting

The base colour for the painting was from a mix of raw sienna and Naples yellow. This gave a bright light source in the background which lit up one side of the castle conveniently. The bridge was in deep shadow so that seemed to work. I had to tone down some of the reflections in the water, otherwise the painting turned very dark

All now rests on two simple foxgloves which hopefully will relieve the green. They will make or break the composition, so I will need to be careful