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

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The Eilean Donan Castle near Kyle of Lochalsh in Scotland

Eilean Donan Castle, Kyle of Lochalsh

I thought I would have a crack at painting this scene by way of a change. I have never tried painting a Scottish view before, usually too busy with the Mediterranean. Scotland has a lot to offer, with any amount of castles ea ch set amongst stunning scenery. Every family or clan had its stronghold, which they needed in lawless times. many are ruined as was this one, but thankfully restored in the 19c, when the bridge was added too.

Quite a gem. We went here when cruising around northern Scotland and its islands early in July.

I have got as far as doing a drawing, first in pencil and then in ink, which I have transferred onto watercolour paper

I have drawn the pink foxgloves separately, and then traced my drawing. I think I will include them right in the front of the painting. What I tend to do, is slide the tracing paper over the picture until I find a spot where they look right

I have just had a commission to paint the entrance to the Royal Crescent Hotel in Bath, which will be interesting. Pure architecture which I quite enjoy

Bosham Sunset Finished

The Finished Painting
About to come off the board

The Bosham painting is finished at last. At the end of the day, there wasn’t too much that I could add to the painting on the last post

I completed some details like the spinnaker on the nearest boat. This is now plumper and more realistic. I have added more suggestions of reflections from this boat, which is already in shadow, but some more red around the stern gives a highlight

I have my eye on the next project, which will be from my recent Scotland trip. I haven’t done anything Scottish as far as I can remember, usually too busy with the Mediterranean, so perhaps it’s time to correct that

The subject will be the Eilean Donan Castle which is near the Kyle of Lochalsh, the mainland side of the Skye Bridge. It is a beautiful spot. I have started already doing some sketches just to work out the composition, and when I have something to show, then I will publish

The other good thing was that I received a commission this week to paint a hotel in Bath, a beautiful city, mostly Regency in style and built in a lovely honey-coloured stone. Commissions have been quiet this year and this is the first, so very welcome. It will be one of those paintings that will be enjoyable to do, and again more of that later.

Bosham Harbour at Sunset: part finished

Bosham Sunset not quite finished

This is the painting so far, which wants tidying up, and at the moment I am just looking at it, and wondering the best way to go

I’m thinking that the nearest boat needs some more detail, but it is also supposed to be in deep shadow, so detail obscured which contradicts

I am going to work on the spinnaker, which needs beefing up. I am not a sailor, but even to me, the spinnaker is rather puny. Quite a lot of sail gets wrapped around this so it needs to look a good deal fatter than I have shown it

In the shadow of the nearest boat, I would like to see more red, which won’t necessarily be correct, but I would like relief from the grey. I have tried to convey the sun catching the stern

Other than that I shall just keep looking, whilst all the time trying not to fiddle, which is a cardinal sin in watercolour.

I am also itching to start on something fresh, a castle in a loch, which I saw in Scotland a couple of weeks ago, which is very dramatic, so I may wrap Bosham up and move on soon

Preparatory Drawing for Bosham Painting

Bosham Harbour in Evening Light

I have made a start. Bosham, always a favourite subject for exhibitions, and I don’t have one ready for my next exhibition which is in October, having sold Bosham Creek at the Guildford Institute.

The drawing is based on an old postcard, which gave me part of the composition, and helped with the relationship of the boat in the foreground, with the shoreline. The other boats I have added from my own library of sketches.

I have added some dark ink lines on the shadow sides of the two boats, and have masked out a tiny boat in the background.

I started to lay in a wash as a base colour. I used Cobalt Blue together with Vermillion. As they mixed on the paper, they have made grey as a basis for shadows to come. Still plenty of red in the sky and sea, although I can play with that when it has dried right out.

I have dabbed out a mark for the evening sun and its reflections across the water, which at the moment is not easy to see.

I am hoping this wash will be enough for background. I don’t want the sky competing with the foreground, but until the painting has dried right out, it will be impossible to say

The Italian Chapel on Orkney

I have been away travelling and sadly haven’t touched any painting or drawing. I would like to mention this wonderful place we visited on our trip round the Northern Isles, which is very much connected to real art.

Interior of Italian Chapel

I had to use a postcard for this shot, as when we were there the building was crowded, so a clear shot of the altar was impossible

The chapel was created by Italian POWS in 1943, who were employed building concrete causeways between the islands, which also acted as sea defences against U-boat infiltration. The Royal navy had already lost HMS Royal Oak with 800 lives to an enemy torpedo whilst apparently safe in Scapa Flow, so this work was of great importance.

The Italians requested a chapel, and two Nissen huts were made available, fixed end to end. A man called Domenico Chiocchetti had already been recognised as an artist, and he led the team of interior decorators. He was assisted by Giuseppi Palumbi , a blacksmith and Domenico Buttapasta, a worker in cement

With no materials other than what they could find, they transformed the interior into this beautiful work of art. They were given access to the wrecks in Scapa Flow, some of which were exposed at low tide, and from these anything useful like brass or other exotic materials were obtained.

In 1944, their work done, the POWS were moved south, not before receoiving an assurance from the authorities in Orkney, that the chapel would be preserved. Domenico Chiocchetti’s home town was Moena, and there are strong links between Orkney and Moena. with visits both ways. In 2014, three stations of the cross were stolen and three replacements were carved in Moena and brought over.

Domenico Chiocchetti came back in 1994, and was involved in some restoration work himself

The chapel is one of Orkney’s most important tourist spots and welcomes 100,000 visitors each year

This is my photograph on a very grey day

La Sagrada Familia, Barcelona: the completed painting

The Church of the Sacred Family in Barcelona

The painting is complete and as always, with any of my completed paintings, I am loving parts yet totally unsure of some of the details

The trees were in deep shadow in reality. I put them in deep shadow in the painting. Hmm. not sure. The church immediately went into the background. That wasn’t intended either

I really like the cranes which some might find strange. I think of them as part of the sculpture. I don’t think they clash at all with the basilica, magnificent as it is.

Possibly this composition will still work as a painting. I really am not sure

I am going to post it on line and will invite comment, in fact I would be grateful for comment. I did frame the work, and of course anything framed looks better, so nothing conclusive there

I will start on a new work later. Nothing to do with this one, but when I have done that I may well do a second version of Sacred Family and somehow leave out the foreground trees, and see if I am happier with that.

My next exhibition is in October so I have time. Shortly I am heading north to colder climes, Shetland Isles and the Faroes where recorded temperatures are about 11c. Yesterday at home we had 32c so an abrupt change. No painting for a week or so but maybe some sketchbook work, if I am lucky.

La Sagrada Familia Barcelona Painting in progress

The Church of the Sacred Family Underway

I have been doing some work on the painting. Unfortunately as always the photograph doesn’t show the depth of colour, which is a pity because the church is against a red sky, and the pink glow is reflecting on the building

The drawing was testing as I said before, and easy to see why the building is taking so long. The draughtmanship and architectural work is pure genius. Just making a sketch I have found tricky in the extreme

So far I have just been building up layer upon layer, wet on dry, of a pinky grey colour, which is close to the original, but not showing deep enough in this image which is frustrating.

However, we continue. I will need to introduce green into the trees, and am just wondering which shade. The tops of the trees will need to reflect red from the sky. The undersides of the trees will need to be very dark indeed

I will have to play around with that

I like the cranes. They add to the feeling of sculpture.

Just referring back to the last post showing the dragon of Kew Gardens. This was shown at the Pirbright Village Fair last Saturday along with three other paintings. Nothing of mine sold. Some very favourable comments about the Swan painting but no commitment to purchase. Alas. That’s exhibitions for you.

Barcelona: to continue with the painting of the Church of the Sacred Family

Church of the Sacred Family

Now that the dragon painting is completed, I am back to the attempt on the painting of the Church of the Sacred Family. I say attempt, because so far I have just done the drawing and trying to follow the detail is absolutely mind bending

Small wonder that building the church has been taking so long following the death of Gaudi, and still more than twenty years to go. What is there, is staggeringly beautiful, both outside and in.

My painting I think will be an impression only. Certainly it won’t be an architectural drawing

We shall see when we get some colour going, and that is for later

Dragon on the Roof : The Painting

Dragon on the Roof, as the restored Pagoda at Kew Gardens

This is my painted submission from the photograph in the last post

Colour matching was a problem. I don’t think that I had ever tried to render gold paint in watercolour before, so I have had to experiment a bit. I haven’t hit the colour square on, but putting the photograph aside, and just looking at the painting, I do feel that my gold does look like gold paint that has been lacquered. Or so I tell myself.

I used a base coat of raw sienna and Naples Yellow. When that was hard, I started to put in shadows with raw sienna. For darker shadows I started to use some more raw sienna but mixing in quinacradone deep gold. For very deep shadows I was using the deep gold straight out of the tube.

The green was more straightforward, a sap green base coat and let that go hard. I mixed some sap green with french Ultramarine to produce that glossy deep green, and started to work in the shadows. For the deep shadows I used more blue. Some artists I know are horrified about putting on several coats of watercolour paint. I don’t agree. I find the finish goes more and more velvety when you do that, and in this case started to look like gloss paint.

Vermilion for the tongue and tail

I have framed this for the exhibition. I cannot imagine this subject being commercial, but with all these dragons we are meeting the requirements of the organisers, and that is good.

The date is the 15th, so we shall see