Dewdrop on Leaf Exercise

Dewdrop on Ivy Leaf

Now that my exhibition work is finished pro tem and before I go away for a while, I thought I would look at some exercises that I have been meaning to do, yet never found the time

This one I owe thanks to Susan Neale who did this demonstration in the Paint magazine some while ago.

She mixed the leaf colour with indigo and lemon watercolour. I have to say, one of the most accurate dark leaf greens I have seen and I have included a real leaf in my picture to compare

Using her own words, more or less:

  1. Using the dark green mix, paint the leaf shape with a no 7 brush. Add the veins using a mix of white gouache mixed with the lemon yellow ( I did add a little of the pale green too)
  2. When dry, draw the dewdrop shape. Now with dark green colour add the shadow area at the top of the dewdrop. Soften the shape with clean water and allow to dry
  3. Paint the cast shadow at the base of the dewdrop, using a darker shade of green
  4. To finish, using the white gouache, apply a rounded dot to the top of the bubble and a highlight to the bottom end

 

As for my attempt, well, could improve with practice perhaps

A useful little detail if you can master it

Close up of dewdrop

I won’t be posting anything for a while so don’t get upset if I don’t respond

Fishing Boats at Beer, Devon Finished Painting

Fishing Boats at Beer Finished

This is the finished version of the cinemascope painting of the fishing boats pulled up on the beach at the village of Beer on the Devon coast

I painted this group before some years ago now, as more of a full-size painting with the horizon and sky included and much more beach. I painted this detail, I may have said, as I have a frame that size, and as it looks like a driftwood finish, should work quite well. I still have a mount to cut, so when it is framed I will post an image, unless it is a total disaster.

This was one of those serendipitious moments that artists get occasionally. We were walking along the promenade with friends, some years ago now, and stretched below was this line of boats. The colours were the attraction, of course, and I painted these boats later on from my photographs.

Walking round art shops in the village later, I noticed that everyone else had the same idea. Obviously a favourite spot and a favourite subject for local artists. Still I sold my painting, and subsequently was commissioned by someone else to paint something similar

This should be the last painting going into my July exhibition, so if there are no more exhibition pressures, I might do some fun things for myself. We’ll see

Line Drawing Preliminary Study for Boats on Beach at Beer, Devon

Boats at Beer Drawing

Rather a faint study from the collage of photographs that I posted a few weeks ago, but sufficient, I think to form the basis for a painting. I have done this study before only differently, so this painting will be the usual journey of discovery that they all are, that fine line between success and failure

I mentioned before, I think, that this shot is from a visit some years ago now to the fishing village of Beer, on the south Devon coast. The fishing boats are dragged up on the beach, and make a colourful line-up, a mixture of bright reds and blues

This is the first time that I will have done this painting as a long horizontal shot. It should work, he says, hopefully. I will have to cut a different mount, though. The original one with the four slots just is not going to suit

So for now, it just remains to titivate these drawings and check that I have everything, including all those small props like chains, anchors etc. Then I can start mixing the underpainting

We will see how we get on

Fishing Boats at Beer in Devon

Fishing boats

Years ago we went to the delightful little fishing village of Beer on the south Devon coast. These colourful boats were drawn up in a line on the beach, and I photographed them in several frames, as I have shown here

I painted them once and showed them. That painting sold. A year or two later, someone picked the painting out from the web site, and commissioned something like, so I painted something similar but not the same

At a craft fair recently I bought the frame in the photograph. The beading is Italian, heavily distressed and in a driftwood finish. The mount is split into four spaces, and is obviously intended for photographs.

It reminded me of something I had seen not long ago at an exhibition. An artist had used a frame like this using a long painting, which looked very effective, I thought. It obviously needs a long horizontal subject, which reminded me of the line of boats at Beer, so I am going to try it out. It may not work, as the spacing of the boats may be wrong, but I will try it anyway

If it turns out well, this could be my twelfth and last painting for the July exhibition, so we shall see

Zoom in

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

Sacre-Coeur de Montmartre, Paris

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The Basilica of the Sacred Heart, Montmartre , Paris

 

This has always been a favourite area of Paris. I have wandered around many times taking pictures, and have used them for paintings afterwards. The artist’s quarter, the steps, the views over the roof tops and the Consulat have all featured in my paintings and have been popular at exhibitions, but for some reason, I have never painted the basilica itself

The basilica was planned or started about 1870, and was part of a Catholic revival in France. It was said to be partly a penance following defeat by the Prussians in the Franco-Prussian war, and partly to expiate the sins of the Communards during the Commune which followed the exile of Napoleon 111.

Napoleon III was captured by the Prussians after the battle of Sedan. His son, the Prince Imperial Louis Napoleon, a boy of fourteen, present at the battle, was spirited away to Ostende and thence to England by boat. His mother the Empress Eugenie, dropped everything and fled to England to join her son. In fairness, all was up with the imperial rule. her husband Napoleon III  was released by the Prussians and allowed to travel to England. Already a sick man, he died in exile in 1873.

The Commune , following the fall of Paris, saw much anti-church rhetoric and atrocities. The building of the Sacre-Coeur on the hill of Montmartre, a scene of much insurrection, was intended to heal the divisions in France, and create a church come-back. Certainly this was  a significant building

Using various photographs, I have made this pencil sketch on which to base a painting. I just haven’t worked out colours yet, although something sunlit I suspect. No doubt my favourite warm shadows using Sennelier Transparent Brown mixed with Violet will be present.

I have the task now of moving the sketch in very basic terms onto watercolour paper and then finishing a drawing ready for painting. So, as always we shall see.

Venice Painting Completed

Venice Painting Completed

The finished painting with San Giorgio Maggiore in the background, which I enjoyed doing, although trying to hit the right colours was testing to say the least

I have already mentioned the mooring posts. In the photograph they looked red in the evening light. This turned into a glazing exercise, wet on dry, although nothing like as tricky as the hull of the gondola which I will come to in a minute

For the posts I started with a Burnt Sienna wash which is pretty safe. When the paint had dried, the pigment had disappeared. I applied another coat of the same colour, followed by a coat of Permanent Rose which should have given these posts a nice evening red glow, but still pasty. I had been waiting to use quinacridone red, of which I have a fairly limited experience, so perhaps risky. The colour worked well, I thought, giving me what I wanted. I used Indigo for the strips of bark hanging onto the wood. Indigo makes an alternative to black which I avoid if I can

Now the real challenge, to use that overworked word, was how to treat the hull of the gondola. I may have said before that gondolas are black by regulation. The finish is of a very high gloss, the sort one sometimes gets on pianos, in fact it used to be called piano finish. I think polyurethane was involved which may have been universally banned by now because of health risks.

Black gloss in certain lights obviously won’t look black, because of the other bright colours it picks up in this mirror like shine. If you remember the original photograph that I worked from, the vessel looked a sort of bright copper colour.

Again this was a long and drawn out glazing exercise. At least five coats as I remember and twenty four hours natural drying in between each coat. I used Quinacradone Gold, Burnt Sienna, Van Dyke Brown, Transparent Brown and Permanent Rose

I looked at it in the morning from a distance. I think it worked but I will have to put it away and get it out again another time, before I can make an objective view

As always comments are welcome

Venice Painting so far

Venice painting to date

 

Not the best of photographs I am afraid

The sky is much pinker than the picture shows but try as I might, I can’t stop the camera leeching out the background colour. Also too much camera distortion making the posts lean inwards which I will try to correct on the finished version

What I did to colour match the original photograph, in which the sky and most of the water is a deep salmon pink, was to brush all over first with a red-orange mix, which did dry quite pale. I then built up with dilute coats of alizarin crimson until I reached the depths of colour that I wanted.

When that was hard-dried, I started on the background buildings, the church of San Giorgio Maggiore, always a favourite. Being in deep shadow I gave all the buildings a wash of French Ultramarine, and then another one. When that was really dry, I painted the rooftops and brickwork in Burnt Sienna.

The mooring posts I started with Burnt Sienna, but I wanted them to be more red than that. I glazed them with Permanent Rose. They were still too brown, so went over them again with quinacrodone red ( it doesn’t matter which way I spell that word, it always seems to be wrong). This was getting nearer the shade

I now had the colour relationship between the foreground posts and the background church. I felt the church could go darker still, with another coat of Ultramarine, and this time bring the wash down a little way over the water, to cast a shadow. There is one small building in front of the church, which I think is the customs house, which in reality stands well out on a promontory coming towards us. I missed this out with the last coat so that it didn’t disappear altogether

That is as far as I have gone as yet. I still have to darken the posts and finish the gondola, probably with some indigo on the seating. How I tackle the hull, I still have to work out, so we shall see.

Venice Tonal Sketch

Venice Tonal Sketch

The exhibition at the Guildford Institute has been running for a working week now. There have been a crop of complimentary comments, otherwise fairly quiet. Not unexpected ,as although the Institute is a delightful venue, it is not a very busy place, and I tend to get more publicity than sales there. Having said that, I usually sell something even if it is after the show

Now is the time I have to think about my next solo show which will be at the Royal Surrey Hospital in July.  This is held in the Peter Thompson Gallery, which is quite a busy place. Taking the worst case scenario and assuming I sold no paintings whatsoever at the Institute, I still wouldn’t take the same collection to the hospital. I will take some but also freshen the gallery with some new stuff which I will work on between now and July. This sounds a long way off but there are holidays in between, so I cannot slacken the pace

I need a couple of Venice pictures which are always popular, so I am working on the view above.  The lovely church of San Giorgio Maggiore near the mouth of the Grand Canal is always a favourite, and I have painted it several times before, but not this particular shot. It always sold in the past, which I know is no guarantee for the future.  Everyone wants the same view so the test is to provide the same image, yet giving it some twist that stretches the artist at the same time.

I am going to give this painting some different colours which will make me think. This will be an evening scene, so a reddish sky which will reflect on the water. The church will fade into the background, and the foreground will be taken up with this solitary gondola. Gondolas are traditionally black. I think there is a regulation which says that they have to be. But it won’t have to look black. The high gloss finish will reflect the colour of the water and the shadows on the water, and also include the dancing highlights

This will certainly test me, and I am not at all sure that I can pull this one off. However it will be interesting to say the very least, and an experience I shall learn something from

As always I will post my progress stage by stage

 

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