Tuesday, 11 July 2017

Painting outdoors



Painting outdoors is one of the most pleasurable moments a painter can have, yet many students are afraid of giving it a try as they see it as the "great unknown".
"I wouldn't know where to start" is the explanation I hear most often.

I can sympathize. The world is a big place and it tends not to come in handy 6 x 4 or 7 x 5 inch slices. The biggest problem and therefore the the most important decision is to decide what to focus on.
My advice (which I keep reminding myself as well as my students) is 'not to bite off more than you can chew' especially to begin with. Be realistic about how much you can expect to achieve in the time available.

In my view, I think it is better to attempt three or four small sketches rather than one large painting which is unlikely ever to be finished.

Which leads us to the next problem. How much to include?

This is as much to do with composition or design as anything. Why paint an enormous sky and acres of foreground when probably an old gate beside a tree will have so much more to say? Likewise, if there is a building involved, whether a charming cottage or a tumble down old barn, consider if a small section or corner will have more interest than trying to paint every detail of the whole building.

Painting outside implies that time is short any way. The light will change, probably faster than you can paint, so keeping it small and concentrating on one aspect makes sense.

Think of using the time to gather information. Spending time LOOKING is never wasted.

Remember, a painting doesn't have to be an exact replica of the scene in front of you any more than it has to be an exact copy of a photograph. There should be room for the individual artist's interpretation. You may end up with a little gem, a painting in it's own right, or have the finest first-hand reference available when you later enlarge or interpret it in the studio.

Monday, 26 June 2017

Morning meadow.



Morning meadow late June
7 x 10" watercolour

One of my favourite subjects to paint. Along the meadows there are always a number of views to paint at any time of the year. No two days are ever quite the same.

Shortly after painting this, the clouds increased and we lost the sun. Just shows you have to grab the moment. Tomorrow is another day, as they say, and there is bound to be something just as exciting to try and capture in paint. The hardest part is deciding where to start!

Monday, 22 May 2017

Iron age update



The Iron age Round house is making good progress despite some recent wet weather. It has been fascinating watching the posts going in and the walls taking shape. How did the original Iron age people manage to build such a tall roof without the aid of modern scaffolding ? Perhaps they made their own wooden version. Looking forward to the thatch going on.

Thursday, 20 April 2017

Down in the meadow something stirs...



Across the fields in the meadowland criss-crossed by public footpaths in a site of special scientific interest (SSSI) lies a scheduled ancient monument dating back to the Neolithic age.
Recently some undergrowth has been cleared away and the ground prepared for a new building. But this is not yet another housing development given the go ahead as part of a local plan to meet the needs of current and future generations.
Far from it!
Here in this quiet corner of the countryside, an Iron Age Round House is gradually appearing post by post to help illustrate the history of this site and how it might have looked all that time ago.
I hope to sketch its progress.

Monday, 27 March 2017

All set for Summer!



So now it is officially British Summer Time (other countries presumably have to wait a while before Spring is over ) I am all kitted out with paper, sketchbooks and fresh tubes of pigment and ready to hit if not the streets, then the gardens and quiet corners of the Cotswolds and beyond


I have various set-ups from this pocket sketchbook and palette
when I want to keep things as simple and lightweight as possible,through a medium-size 5.5x8.5" sketchbook or 7x10" watercolour block and a medium size palette with a larger mixing area for when I have longer to sketch, and then my larger bag containing 8x12" sketchbooks and 9x12" or 12x16" watercolour blocks when there is some serious painting to be done..



Occasionally I will add an easel to this larger set-up, but only if I know I am going to stay put for a reasonable amount of time. There is no point in taking so many materials that you end up staggering from one place to another in search of something to paint and then being too exhausted to do anything!

I wish you all a happy summer of sketching in whichever part of the world you are!

Thursday, 23 February 2017

Storm Doris




Storm Doris passed this way today. Wet, as one might expect, and very blustery. Not exactly ideal weather for an easel. Hard enough for someone on two legs to remain upright despite a full shoulder bag which normally keeps one anchored.

I have been here many times before. Dog owners walk their canine friends along this route every day. I walk my sketchbook the same way, sometimes a block of paper which is gummed so it doesn't blow away. I usually keep loose paper and easels until later in the year.

Today the dogs seem keyed up, excitable, yapping and barking for the sheer pleasure of being able to, full of expectation of something different about to happen.

The dog-walkers are not so boisterous. Dressed in creative collections of assorted clothing, they concentrate on remaining upright and continuing on a more or less straight line without being blown too far off course.

Being so familiar with the scene (the buildings change little over time, it is the pattern of light across them which holds interest), I know I will be able to draw the main features later from previous sketches and memory. It is the fast-moving clouds skidding across the sky which fascinate. A whole range of tones and colour, there one moment, gone the next as Doris hurries on her way, faster than a pencil can scribble across a page, swifter than a brush can deposit water and pigment.

The answer is, I believe, memory, editing, and a healthy dose of trying to capture the FEEL of the moment and to hold onto it long enough to attempt to express it on paper or canvas as soon as possible, before the memory fades.

Luckily, I live only a few moments away.

Wednesday, 8 February 2017

Limited Colour



Winter is a good time to practice producing an image using a limited number of colours - in this case, three - French Ultramarine, Indian Red and Yellow Ochre, basically one red, one yellow and one blue, although they are all fairly subdued, as they should be at this time of year.

It was Claude Monet who said " In England, I was fascinated by the never-ending shades of Grey.. " Nothing much has changed since his time. It has been very grey of late.

Actually, there is a fourth pigment here, Cerulean, a turquoise-y blue, to add a splash of colour.

I am always interested by how one can change the mood of the image by the choice of palette used. It is all too easy, especially when using a photograph as reference, to try and match the colours exactly (although it is arguable whether the colours in a photograph are "exact" at all), when what we should be doing is painting the feel of the subject.