The post before last I showed 3 morning sketches, the first one of a single cottage. This was the view behind me, as I painted – one of the many drainage ditches that crisscross this marshy land, surrounded by flattened reeds and grasses.
I loved the myriad of warm colours picked out and accentuated by the rising sun. A new day and the crows descend to squabble over the remaining grains of cereal.
With the sun shining I got up early on Monday morning and headed to Clieves Hills on my bike. On my last painting trip I spotted this cottage at the foot of the hills from another angle and made a mental note, but returning on Monday, I was more taken with this view, with sweeps of stubble leading the eye. Comparing it to the other sketches I did on the day I feel I have captured a dose of morning freshness under the sun’s first rays.
I then headed up the hill and, from across the field, spotted this group of buildings nestling under a tree. This is the kind of light I want, crisply defining shape and form and keeping me warm as I paint.
Then I shuffled a good hundred yards along the ridge and set my stool down to paint these cottages that almost hang in the air looking out to Liverpool and the Welsh hills beyond. I have been reluctant to paint these before as it is at a well frequented viewpoint. Casting shyness aside, no-one even noticed me as I painted away.
The grasses, plants and flowers in the foreground were a picture in themselves and I might turn this into a painting in the near future.
I was looking to do an abstract inspired by the gorgeous colours of a Corsican summer and pulled out a painting I had completed a few years ago of a corsican hill-top village. I got quickly sidetracked and thought I could improve on this old painting so set about repainting much of it. The result is disappointing, no progress here, though I did get some ideas for colours and textures for the abstract. For the record the original I painted over is shown below.
Back in June this year, I published a post where I displayed 3 paintings all done from the same spot, my sketching stool, just looking in different directions on Clieves’ Hills. This latest offering is based upon one of them. It is brassy, stretched out and made to look like an old steam train destination poster, but the essential elements have been retained, including the Church.
This is another in the graphic style I was exploring, using the local vicinity as my reference point. It may have got a bit fussy in the foreground, but I like its boldness and colour and it complements the others paintings in the series.
I may be tempted to get out and gather some more reference material for the dark winter nights ahead.
I have been struck a number of times by the patient nature of horses – though it doesnt include the ones running in the 2-30 at Kempton, obviously. The way they stand or methodically graze unhurriedly in the paddock or dissuade irritating flies with the twitch of a muscle. I saw these ones, painted above, on a recent morning cycle – probably waiting for breakfast to be delivered. Hopefully Godot wasn’t bringing it, as in that case, even their patience might be tested.
Not much painting over the last few days as we went away to the Peak District near Stockport to meet some of my wife’s friends who were up visiting. We gathered in the grounds of Lyme house – which among other things, was used as a backdrop in a BBC production of Pride and Prejudice.
As the troops gathered I sneaked away to sketch the view of the house from near the main driveway despite it starting to rain in the attempt. Fortunately there was an oak tree to shelter under.
We stayed in an inn on the outskirts of town, high on a hill and I thought that I would get up the next morning and paint for an hour or so, before we set off. When I woke up there was low cloud and drizzle so I stayed indoors and sketched the horses in the farm opposite when they grazed into view.
They didnt stay still for long and it was a good exercise trying to catch them in their poses – something I should do more often. When they disappeared from view I built up the farm which overlooked the valley.
Later we walked up towards Kinder Scout and this was a view of the reservoir I snatched as I waited for the others to catch up. I liked the green sloping field behind the house which jumped out in the sunshine – overworked but a reminder of the day.
I looked at my watercolour sketchbook the other day and saw that I hadnt done any outdoor painting in July. The weather hasnt been very good – well not for outdoor painting, though my lawn has rejoiced in the warm damp weather.
So with a mini heatwave forecast and two days to go, I set off up Parbold Hill. I had noticed some footpaths off the road that go up the hill, but have never explored them. So on Thursday up I trudged with my painting gear. The first painting is on the way up.
Dodging the many dogs that yapped and barked around my feet I got to the top and walked about the exposed plateau, taking a winding footpath through a wheat field. I liked the trees in their lush summer finery and sat on the path looking out over the Lancashire plain. It was as I was working on this second sketch that I realised the tall streak in the distance could only be Blackpool Tower.
As I started back I saw a row of cottages on the high ground above me. They looked like Cotswold cottages. I also liked the gaps in the trees that surrounded them, so I decided to get the paints out again and make the most of my visit.
A more traditional rendering of the local landscape than my previous blog, but both show the topography of the flat moss. Here the road – Segars Lane, a single track road – hovers above the drained marshland which is now fertile arable land. It gradually splays and slides into the fields below, causing it to undulate in the process. Then the road is reinforced and the process starts again. Roads, crows and powerlines cross the land. Here the powerlines take a shortcut into the sun on a bright summer`s morning.
Continuing the local landscape theme on canvas I pushed on from the graphic style I have been showing recent. This time starting with some loose washes and textural work to see where that brought me out. I have done similar things in the past, favouring blue/purple/yellow orange combinations, but this time went for greens and reds, though yellow seemed to pushed its nose in there as well.
And this was the result. Too messy? too many motifs? I’m certainly undecided. I also wonder whether adopting this complementary colour approach also causes confusion. Keeping things in one colour segment and working tonally might calm things down.
Another in a graphic style acrylic painting, though this is not on canvas but on paper and slightly smaller at around 36×52 cm than earlier paintings of this type. The undulating furrows of a newly planted potato crop caught my eye as I cycled around the Moss earlier in the year.