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.

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

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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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!

Bosham Harbour: the painting started

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Some while ago now I finished the drawing of Bosham Harbour and Church, and I posted that. I left it, as I completely messed up the initial wash. It wasn’t something I could correct, so I abandoned the whole thing. Very,very rarely do I do that, but sometimes it is the only way.

I find in situations like that, that walking way is the best thing to do.  Walk round the block, metaphorically speaking and then come back, otherwise you just get more and more frustrated, and make more and more mistakes

My way of walking round the block, was to do the Conkers painting. Completely different and completely unimportant, I was able to unwind and get myself back into finding the colour recipe for conkers which was in my head somewhere. After all that, my little bit of therapy produced a quite usable painting, and I framed it not so long ago, and was pleased with the result. This will go towards my next exhibition which will be in the Guildford Institute in March, not that far away now, so I need to work.

Back to Bosham Harbour, after redrawing the village with sailing boats, I put in a different wash, and played safe. I have no time to experiment. Phthalo blue and Cobalt produce a nice sky/sea colour and across the horizon a band of sunset produced with permanent Rose and Cadmium Orange. I started the blue wash downwards whilst at the same time starting the sunset colour at horizon level and worked upwards so the two met, and blended comfortably. Tricky using two brushes and two palettes at the same time, but it seemed to work

As you can see, I have just been detailing the church and other buildings in various reds and browns. I needed to get those roof tops really bright, and after several different glazes used cadmium red to give them some zing, so that they looked as though bright red evening sun was bouncing off them.

Still a lot of work to do, on reflections and those boats, but that is to come