I continued my search for a woodland scene for an upcoming exhibition and painted this yesterday. I will probably submit this painting rather than the one I posted on my last post. Both are from the same woods.
You can see the path disappearing right, down what becomes a sharp hill, which quickly bottoms out and then rises sharply again. Great for cycling down until you meet another cyclist coming the other way doing the same thing – trying to get enough speed to get up the hill in front.
Fortunately on that day I didnt meet anyone coming the other way.
Anyway, I have now submitted my exhibition entry form, so that’s one less job. We start another exhibition in town on Sunday, so I need to label up another set of paintings.
I think I mentioned that I have a couple of exhibitions coming up. So apart from painting, I have been assembling paintings in readiness. Gathering the paintings together, I felt I needed another local forest scene and a beach scene to give me a good spread of subjects. Here is one forest scene I did this week.
But despite the loose splattering and layers of masking fluid, I felt that the painting lacks the punch I was after. I feel it needs more colour even though I injected more colour than is in the reference. I was also hoping the large tonal range would galvanise it but, for me, it isnt enough.
Fortunately I have time. I just need to produce a list for next week, so at the very worse, I can put down a generic title and keep my nose to the easelstone.
I dont regard these problems as a waste of time. It is a learning opportunity – even if it can get half forgotten in the months ahead. It is also good practise – something you can never get enough of.
Watching the TV the other day I saw a scene which reminded me of an image I have in a book on the Algonquin National Park in Canada. I thought I might combine aspects of the images. The sense of stillness and isolation appealed to me – perhaps something I might see in our Lake District in England: maybe it’s my age or situation.
I was in the middle of an acrylic painting and had an impulse to paint this in watercolours. It is of another favourite subject of mine: Ainsdale Woods which sit on the edge of the sandunes on the coast. I loved the purples, blues and greens, which I have enhanced here, and how they collide with the yellows of the sunlit leaves.
I tried to be sparing in my washes and brushwork to keep a freshness and may have left areas underworked as a consequence. Anyway, there`s plenty of colour for a gloomy pine forest.
I had a bit of trouble with this painting – well I have trouble with most of my paintings – but this time it forced me to start again.At the outset I was caught by the light through the trees illuminating the flowers and reflecting off the petals and leaves. I think I caught that with this version – though it was quite tedious painting the bluebells -because I needed to reserve a lot of the white of the paper for these reflections.
The first one below lost the effect of the illuminated flowers and became disunited – though it has some qualities which eluded me in the second version.
The venue is an old, disused, railway line coming from Maghull, in the north of Liverpool, to Southport, where I live, called the Cheshire Lines. I think around this wood was a branch line linking to the main line.
I stumbled on this during a cycle ride a couple of weeks back. The bluebells are now fading away fast around here.
Another view from Ainsdale pine woods near to my home, where the firs and bracken have populated the old sand dunes down to the beach.
You can understand, in a more credulous age, the belief in sprites and fairies as the morning light bristles or crepuscular darks grow.
And another go at the view of the woods and path I posted a few weeks ago. The first one was quickly done on the back of an old painting and I loved the glow I achieved. Unfortunately some of the old painting had been cut down so it didnt fit my frames and mounts. Hence this second attempt on a fresh sheet.
I saw a woodland scene simply done in watercolours the other day and wondered whether some of my scenes could do with decluttering. The painting was eye catching though too simplistic for my taste but I felt it was worth trying some of the principles.
This painting was from view I have had lying around for a while and I thought that it would make a good starting point. I proceeded with a wash of strong primary colours over the wetted sheet and then moved the whole lot with more sprayed water to get some colour mixing into a myriad of hues.
When dry, further forms were created into sprayed areas to give hit and miss shapes and gradually the whole thing was worked up with drier and drier brushwork.
I’ll do a few more and compare them with earlier paintings I have done.
Regular readers may sense groundhog day, but this is a more finished version of an offering I produced a few weeks ago as part of a set of woodland scenes. As I scratch around for suitable work for a couple of upcoming exhibitions, there may be more of that set coming – so those of an unforgiving disposition should switch off now…
I had a bit of time to play around with some forest scenes I had collected from recent visits to our local Ainsdale and Formby woods. On the top painting I did the colour mixing on the paper adding water to push colour away from the top right and then push and reinforce the dark mixtures on to the bottom right to get contrast and mystery.
This, above, was my first try. I like some of it, but feel that I need some colour contrasts to highlight the point of interest and break the monotony.
This got a bit obvious with streams of light, but has the area of interest I needed in the painting above. Again, with a few tweaks it could be worth another try. I think if I push the bottom area up into the `middle it might enliven it a little.