This started out as a bigger painting. Initially I liked the array of trees in the background and the way they dwarfed the narrowboat and man, but when I completed it, the mass of foliage was boring and overpowering. I decided to cut it down from half imperial to quarter imperial. This is the quarter imperial (36x26cm) painting. I do like the warm colours of the man and lifefloat on the narrowboat, singing out in the sea of greens and the smaller size has put more focus on the boat. I still have some misgivings about the painting and will put it aside to consider it later.
I took a number of photos when out painting recently. This is from a photo of a view I have painted before, but not in watercolours. I liked the way the grasses worked against the farm buildings and it allows me to explore the depiction of foreground texture.
I was looking to emphasise and practise foreground texture and had this image from last year of the drainage channels and reclaimed agricultural land that spreads out inland from the sea around here. I liked the contrast between the spikey grasses in the foreground and softer foliage on the right. This place is close to Maghull as you edge into Liverpool from Formby and Southport. It is accessible from a dismantled railway track which runs north south through the moss.
I just did this from an old acrylic painting – see below – for a lady who has been buying a number of my life paintings. She told me last week that she wanted one more to accompany one she has bought – Mark posted on Nov 19th 2015. I thought I would do a female in the same style. Hope she likes it.
Girl on a Hot Green Throw was done in acrylics last week.
Another Nita Engle inspired painting. It was off a scene I saw on the television. I was taken by the brooding of the forest. Still finding that the painting isn’t ‘painting itself’ as the author claims, but you do get some interesting happenstance. I’ll keep plodding on.
I have sat outside and painted this building in the centre of Southport on at least two occasions and recently I spotted this angle which has the imposing clock tower dominating the scene. Then one night we went to see a performance and the evening sunlight lit up the sandstone façade and I quickly took some photos. So this painting is a combination of a number of photos taken on different days with very different lighting conditions. It made the drawing mighty complicated and where I had problems and uncertainties I covered them in people. All I was after was the tower in shade against the glow of the sunlit façade. Also the top half was from really dark photos, but I couldn’t put anyone up there to cover uncertainties so I winged it with the lights and shades.
With all these problems I wished half way through I hadn’t started it, but it pulled through in the end. Perhaps I should have got on my bike and taken a few more reference shots but when you’re in the thick of it you think you can make do.