Before I put the background wash in, I scrubbed literally a good deal of the yellow away. On the original painting the yellow blends nicely as a sunset colour. In this photograph it stands out again, and I fail to see why. I can do no more with it, so must show it, warts and all.
The yellow scrubbed back down almost to white was probably the colour I was looking for originally. I did a faint yellow wash on the front of the white buildings, and that worked well too, but lost on the photograph. Oh well!
The composition extends further to the left including more boats and more sunset. I could put this in a long frame and it would work well. It could only be shown in a bricks and mortar exhibition though, but I have one booked in December, subject to virus spike. I will give it a showing on line first and see how it goes. If no interest, I will keep it framed for local shows
In the meantime, I will start thinking about my next subject
I am starting another painting of Bosham, this time from a different angle. This started because I want something to use in one of those long frames I bought. Bosham has worked well in the past but I can’t repeating that same shot, so this time I am standing on the causeway which floods at high tide and which gives good possibilities for an interesting composition
So far I have drawn the cottages on the water’s edge and the church behind. I am not sure whether you can make that out and will include a close up at the end
What is that splash of yellow? Something I haven’t tried before. I have laid down the basis of a low sun across the water. The plan is to wash over that with the sky and sea colour. I may well live to regret doing that, but sometimes you have to try something a little different.
I shall wash over with a mix of blue and vermillion, and hopefully get a low lit subject. We shall see.I will leave the close up of the drawing
I hope that is a bit clearer. The wall on the corner is foreground. The posts mark the edge of the road which will be flooded in this picture
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.
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
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
This was the first of the two paintings which I was hoping to plan together. But it was not to be. As the poet said, or something like, the best laid plans of mice and men go oft awry.
They certainly do. I have done a few sketches of the horse picture, but last Thursday the phone rang and a regular client phoned with a commission for an extremely ornate fountain called the Fountain of Love which is in the grounds of a mansion called Cliveden House in Buckinghamshire
I went to look at it, at the week end and took some reference shots and append one for your interest
I have just had to arrange a professional copy so that all the detailing is picked out clearly. This will be a test of drawing skill and no mistake. Too late however, as I have said yes.
Cliveden House is now an hotel. It is c18 I believe and is associated over the years with a succession of powerful women. The latest was Nancy Astor, the American heiress who became a Westminster MP, the first woman MP I think, and certainly a forceful lady.
The house is remembered for being the scene of the scandal involving Christine Keeler a model, and John Profumo the then Minister of Defence during the 1960s. She was also having an affair with a Russian diplomat, so the whole thing was considered a threat to national security. Profumo lied to Parliament and the whole thing nearly brought down the MacMillan government
The same day i received another commission to paint a boat in St Katherine’s Dock which might be postponed and give me a breather. Today I received a request to do yet another view of beloved Bosham Harbour and Church
That will teach me to boast about doing two paintings simultaneously. The gods have a habit of looking down and teaching you a lesson if you appear over-confident. They have, and it serves me right.
This is the finished painting, which I happen to like, although I will admit to one or two scary moments
I have managed to keep to a rather limited palette. Cadmium Yellow which I mentioned before and Ultramarine Violet, together with Transparent Brown which I softened with Violet. This is still my favourite shadow colour. I used Vermilion for some distant red clouds behind the trees, and also for the red paint along the hull of the hulk on the beach.
After getting the sky about right or so I thought, as the dark clouds coming in from the sea might have been darker, I put in the distant buildings along the shore line of Bosham village. The steeple of the Saxon church, so well-known as to need little introduction, is probably the only building that needs to be recognisable, although I have done my best with the others, plunged in shadow as they are.
To the right are two beached boats, one clinker built and the other which looks as though made of fibre-glass, so not the easiest to convey in watercolour. The dunes with some coarse grass rise in front of them, and make a convenient break
The beached hulk is one of those things that are fun to paint. So many details and textures with rusting metal and flaking paintwork on the timber. I mentioned that someone had daubed white paint on the prow, which I could have left off but decided to include. I daubed masking fluid on and then overpainted several times with the dark brown mix. When the masking is removed, then that should look like white paint over rough brown planking. That was the plan. I hope it has worked.
The real test of course is getting the light right and the highlights in the right place. I hope I have done that. The camera again has bleached out the colours, try as I might, so in reality the shadows are much deeper, and appear more convincing. Oh well, in the scheme of things, not the worst problem one could have.
We are going back now to before the last two commissions, which I was pleased to take on, challenging though the last one was. I still await the final judgement from the client on that one, as she comes back from holiday on the 16th only, so fingers crossed under the table on that one.
I had started this painting of Bosham Creek, or rather drawing, with just the main elements in place.
So far I have added two dilute coats of watercolour across the page. Violet running into yellow, mostly with a watery coat of vermilion over the whole thing when bone dry. I dashed some pure yellow pigment into the area where I think the sun is setting. In the photograph this yellow shrieks at you. In reality it doesn’t. I am often intrigued how the camera sometimes disagrees with the human eye. Possibly one of those paintings which won’t sell on the internet, alongside a few others.
The hulk on the beach, I am hoping will provide most of the interest. The detailing on this sort of subject is usually a lot of fun, and tends to draw the eye. I noticed in the photographic reference, that someone has daubed white paint along the prow. I have used masking fluid here in a dry-brush fashion. Going over this later with dark brown pigment, and then removing the masking, should leave the illusion of white painted roughly over dark brown. I hope that makes sense. We will see later if it works or not. I have done it successfully in the past, which is of course no guarantee of success in the future
Since taking this picture I have started to darken the clouds and will gradually go on, wet over dry until I like what I see, hopefully. That will be the judgement, not getting them too dark or yet too wishy-washy. We shall see, and much still to do.
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.
That will then complete a collection of twelve paintings for the coming exhibition at the Guildford Institute from 19th of this month
Since the last post, really the work was purely detailing, using dark brown, white and cadmium red. I have drawn in some buoys and odd details like that
I bought a new detail brush the other day, designed by Matthew Palmer. It has a large bole which holds a good supply of water, but the tip comes to a very fine point, which produces a line rather like you’d expect from a pen. I think it was designed for painting very thin branches and twigs. It also works well for fine rope work, and window frames
Huge sigh of relief now that the exhibition collection is finished, all but framing the last one
I can now look at catching up with a few paintings for pleasure. I love doing horses and have made some initial sketches, from which I think I can put an interesting composition together. I have gone back to drawing by eye instead of using a grid, which not only saves time, but also is comforting to know I can still do it ( or think I can)