I’ve had photos of this around for months. It is the nearest hill for miles and I’ve done many paintings around the area. I do a lot of painting outdoors in the vicinity and I took some photos in early summer when the view caught my eye as I cycled past and then later I took some more as I was passing  when the gate post on the left was covered in brambles so this is an amalgam of early and late summer. More emphasis on the end of the summer hence the title. It certainly was the end of his gate.

More paintings of Clieves’ Hills are on my website: grahammcquadefineart.com


  1. Wow, Graham, this may be one of your best! Even the leaves in the foreground are so delicately rendered. This must have taken a very long time to do! Love the texture on the gate posts too, and the trees leading us off into the distance. A place to stand and gaze and dream. Really transportive work. Thanks for sharing it. I’m curious if you are happy with this? I think I’d fly around the room if I ever painted something this beautifully!

    Liked by 1 person

    • Thanks for your comments and complements Laura. The painting took about 8 hours. It looks complex, but isn’t. I used a lot of masking fluid, but not in the basic way. I put down washes of mixed colour, let it dry then applied masking fluid, first as grass lines. Then added other washes of mixed colour, say greens, then let that dry and then put more masking fluid in leaf shapes. Then I ran rich darks over the remaining areas, letting colours mix on the paper. I will do this in different areas of the painting, depending on what is there and what effects I want.
      It takes a bit of thinking through before you start, but I couldnt foresee all eventualities and I did do some correcting later on, rubbing out areas, scratching out with a blade and finally using gouache (white – to which I add some shades of watercolour) to extend and tidy up the grasses.
      In other areas I used drybrush techniques to build up texture and form ( in the posts and midground grasses)
      One painter I learnt a lot of this from is Joe Dowden. He has a very informative website – look it up. There are tutorials on it which are very informative. He produces photorealistic paintings but by flicking, spraying and loose washes as well as masking fluid which is flicked on the painting at different stages.
      I am quite satisfied with the results, though the lighting is coming from the back and shining on the subject and I prefer working into light to get better contrasts of light and shade.
      Here the lighting is a bit flatter and it lacks a bit of dynamism, but it does present a calm presence.

      Liked by 1 person

    • Thanks Gretl. I appreciate the reblog.
      The calmness was something that attracted me to the scene. I think it is created by the detailed foliage and textures in the foreground, with the view pushed well into the background.

      Liked by 1 person

  2. Shawn, As I said to Laura (see comments above) I use masking fluid – but not on the blank paper ( unless it is to be light reflecting off a shiney surface). I first get down some loose washes of mixed colour, let it dry and put the masking fluid on that. I may do that a couple of times. I use a lining pen to apply, but you can use a thin stick.
    Later on, at the end, I will use a scalpel to scratch out if I need more lines and I did use a bit of gouache (white, mixed with some of my watercolours) to reclaim small areas.
    Hope that helps.


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