A favourite place from my childhood. We were taken there and allowed to play on the gaming machines, which were not very sophisticated in those days. I remember putting in one old penny which was the pre-decimal currency, so value today, one half of a new penny. The aim was to flick a ball bearing round at speed and see where it landed, hopefully in a slot which gave you a payback. As I say, extremely unsophisticated
This painting relates to the reference photograph which I posted last time, which I was kindly allowed to use by Vicky Stovell of Smiley Sunshine Photography.
I used few colours. Cadmium Orange, Ultramarine Violet, Dark Mauve and Cobalt Blue. I combined the blue and the violet for the sky as well as the wet sand at the bottom of the picture. The uprights for the pier were in deep, deep shadow so i used the dark mauve, instead of black which I avoid where possible.
In order to get the bright sun image, I held a tissue in place with one finger, and then applied the first wash. There are probably better ways of getting that result, but that was the best I could think pf at the time
This painting will be going in my September exhibition at Denbies Wine Estate, so hopefully will freshen up the collection
I have another Istanbul painting in preparation so will post that at a later date
I have painted a view of Marzameni before some years ago. It is a delightful fishing village, where we stopped just for a coffee break, and then wandered down to the water’s edge. Many of the boats were obviously old and maintained by their owners, Some of them were hand painted, just bright Mediterranean colours, vivid reds and blues, together with dazzling whites.
The sea was the brightest blue, and as always I hope I do the colours justice. I used Pthalo Blue modified with Cobalt Blue for the sky and the sea, which seemed to work. The same colour strengthened seemed to work for the boats as well, although I did get an opportunity to use Windsor Blue for a really deep blue stripe on one of the boats
As we watched ,the boat with the umbrella hove into view and rowed slowly by, eventually finding a place to tie up. This boat was smarter but the colours were more muted
I enjoy painting Sicily. Always the colours are so vibrant, and the shadows so pronounced
I am exhibiting at the moment at Denbies Wine Estate near Dorking, and have sold a painting of Horses in the Wetlands, another favourite subject
I am indebted to Pixabay for the use of their photograph. I have stood on this spot a few times and looked down the canal, but this picture was taken with a distant golden evening light which is very attractive. I hope I have done justice to this view. Standing on this spot, reminds me of the many little shops, in one of which I bought a piece of Murano glass, which was over-priced , but difficult to go home without something
I love the feeling of depth. Close to us are the embarkment stations used by passengers boarding the many vaporettos which chug along the canal, going to many destinations. In the far distance you can just see the canal bending out of sight. In between are the old palaces now mostly hotels
The sky was always going to be the biggest challenge. I used some cobalt and phthalo blue mixed, layered in orange for lower sky, and back to blue for the lower picture. I had to repeat this twice to get any sort of brightness to the orange sky. Later when bone dry, I put in some red clouds wisping along the top . The orange worked well as a reflection in the water too. As always the camera has leeched out some of the colour. The painting is so much more vibrant. I wish I could stop this happening
Venice continues to be popular, and I never tire of painting her. Just by way of a change I am trying to put together a composition around a cat in Ephesus. We have been there a couple of times. Very atmospheric treading in the footsteps of St.Paul, also very hot and dusty, but amazing nonetheless. On my last visit and just in front of the Library of Celsius, a cat was sitting motionless on a pedestal. There are always plenty of feral cats living amongst ruins. This one somehow added to the spiritual quality of the scene, not Christian, but more like an object of worship in Egypt. Fanciful I know, but that is how the view struck me. I wonder if I can convey that in a painting
This is what I meant by an old favourite. The lagoon viewed looking out onto the magnificent church of San Giorgio Maggiore, which I have painted several times before in different lights. I don’t seem to have kept many, so must have been some time ago that I last painted this view, before I started keeping a file of all my pictures. Anyway, this one I was pleased with. The light seemed to work. A misty still morning before the sun broke through, there is very little in the way of colour as yet
I have used mostly just two colours, Cobalt Blue and Cadmium Orange. Here and there they have mixed and produced an interesting grey/green which I rather like and use from time to time. Burnt sienna for the brick buildings in the background, but not much of it
I put this one on social media to get some comments. Someone bought it which is always the ultimate accolade
I am doing a real exhibition this coming Saturday, and it would have been nice to have taken it, but you can only sell a painting once. I am happy with that
Probably my favourite view of Venice which I have painted several times before, but not with this lovely misty light, which I shall assume to be morning but could be evening. This photograph I owe to Pixabay and am grateful
This is my finished watercolour painting, or my version of the photograph I should say
This was a challenging photograph to work from. San Giorgio Maggiore in the background, shrouded in mist. I knew it well and had painted it a few times. This is a lovely building set on an island and reminds you where you are, almost into the mouth of the Grand canal. Gondolas line up like taxis in the foreground. Drawing them is always fun. They seem to have a twist along the length or maybe that is my imagination. An interesting point about gondolas is that they have to be black according to regulations and yet because they are so highly polished, they very often don’t look black, because of the highlights and the reflections
This fills a spot in my collection. I have two exhibitions planned for December, and I never feel complete without a painting of Venice. Unfortunately having been through my own collection of photographic references more than once, I am sometimes puzzled as to what to paint for a change. This view I have painted before but in bright sunshine, so a misty start to the day is a nice change. Initial response to the painting has been encouraging, so I think it could do well, but I have said that before
We shall see. At the moment I am in different stages of two works, not something I like doing but needs must
A well known view although on this occasion I have to thank Pixabay for the reference photo
I was intrigued by this picture, not entirely by the subject matter, although of course the Basilica of St Peter’s in Rome is an inspiring piece of architecture. It was the early morning light that had been captured in the photograph that I liked which gave a misty effect to the background buildings. The trick would be how to capture that light effect in paint.
I used two colours as a base coat, cobalt blue for sky followed by orange for the middle ground covering the buildings especially and then cobalt blue again. The orange running down into the blue created a greenish colour which worked well as the colour of the river water
For detailing I used some burnt sienna for brickwork and a violet/ transparent brown mix for deep shadow. Did I capture the feeling of a city waking up and starting to get ready for the day ahead? Well, I like to think so, but I will let others judge.
This one was fun to do, and relied on a good reference picture which I found on Pixabay. The photographer was David Cattini
My next exhibition is local in the village of Pirbright, and six pictures of mine have been chosen including this one, so the feedback will be interesting.
It is now some time since I have posted anything, and it is good to be back. It is also extremely good to be painting again. My life for the past ten weeks, has centred round hospital visits and more recently consultations with the physiotherapist. Today I was discharged from hospital so trying to get back to normal after my accident
I started this painting about two weeks ago. It was to replace a gap in my range. I sold two Bosham paintings at my last exhibition in June, which was held in the gallery at Denbies Wine Estate near Dorking. I had a telephone call from a gentleman asking if by chance I had a painting available of Bosham which he wanted as a gift for a friend.. How fortunate. He was prepared to wait and is collecting the finished item tomorrow, so that is good
I have used sunset colours which always work with any subject involving water. The deep reflections are perfect for this size of painting. There are just four colours in the picture, red and cobalt blue, violet and transparent brown
There are more finished paintings to come. Roman Sunrise, which is a splendid early morning view of St Peter’s Basilica, and also the Bridges of Prague, which I am just finishing
Two exhibitions in December coming up so will need plenty. Fingers crossed that strict Covid restrictions aren’t reintroduced of course as they were last year at the last minute. Our infection rate is rising worryingly, with the government trying to avoid taking any action. It is as though they are taking some desperate gamble that herd immunity will kick in which will save them putting any curbs on the economy
Anyway sorry about my long absence. Hopefully I can get back into the swing again.
This where we are at the moment from the reference photograph published last time. The centre of attraction is the jack or striking clock installed in the c19. The figure of a blacksmith strikes the hour with his hammer, from his perch over the main road between Guildford and Dorking
Abinger Hammer is an idyllic village in the Surrey Hills. It was not always so. The River Tillingbourne runs nearby and was an industrial power source. It drove mills and in the case of Abinger powered a hammer which pounded hot iron into pigs or ingots. The hammer ponds are still there although the iron is gone. Today they grow watercress or have become trout farms. The iron industry moved north and stayed there, when Abraham Darby discovered how to smelt iron using coke instead of charcoal.
So far I have concentrated on the background and underpainting. It looks very soft which is not unattractive although needs to be sharpened up, especially the houses in the foreground. They are tile hung. Terracotta tiles are very much part of the Surrey vernacular, mostly square edged but a good many in beaver tail design. The golden coloured building stone is local sandstone, which is used frequently with bricks on the corners for protection. Always attractive to paint,, good old raw sienna does nicely and burnt sienna works well for terracotta. For additional poke a dilute glaze of permanent rose over the burnt sienna does make it pop as the saying goes.
The background is in shade except for the gaps where the trees can be seen in the background. I used quinacridone gold with some violet on the trees, by way of a change and it gave a nice effect
Still some work but mostly detailing. Hoping to use the finished result in my next real exhibition later this month which will be at Denbies Winery near Dorking, but gotta finish this first
I went here many years ago on a trip out from Palermo. Lovely stretch of beach which I have featured although I had to rely on someone else’s photograph for reference. Many thanks to Websi for the use of their photograph
Not only the beach but a lovely town square and a delightful Norman cathedral from the 12th century, which we remember visiting
The brightly coloured fishing boats are fun to paint. I have added a different red to my stock as I have been trying to get away from cadmium red, as I have used it so often. Someone suggested Sennelier Red, and this painting gave me a chance to use it. It really is a magnificent poppy red and I have used it on these boats. Sennelier say that they put honey in their pigment mix, and certainly their paints do go on very smoothly
I put this painting on my online site on Wednesday and it sold yesterday Thursday. Not quite wet from the easel but getting that way. Certainly a record for me, although friends of mine have done that more than once. I think it must be Sicily which is certainly very popular or are we just looking for sun after the winter lockdown
The original is actually brighter than this photograph. Annoyingly I couldn’t get the reproduction any lighter which is a pity
Tower Bridge is always a good subject. It stands across the river as an entrance to the Pool of London. It doesn’t seem so long ago that cargo ships docked here and loaded or discharged their cargo. The bridge became an icon of its time, when London was a hub of international trade. In my lifetime, with the advent of containerisation, traffic moved downriver to Tilbury, and the London docklands wound down as far as shipping was concerned. It became a financial centre instead, important obviously but perhaps not quite so stirring as shipping
I am grateful to Fietz Fotos for their permission to use their reference photograph. It really was a study in orange and blue. I have painted Tower bridge several times over the years, but not in these colours, so it was still challenging enough and seemed to take me quite a long time
There still is a real exhibition planned which I have entered. This will be at Denbies Winery near Dorking and starts on June 21st. If it isn’t cancelled at last minute, as it was at Christmas, this will be my first real show since lockdown 1. Online sales have been good and one must be grateful, but there is something of a buzz about a real exhibition.