Another woodland painting and another repeat – I have put versions of this on the blog before. Certainly a little tighter than the previous blog of the woodland scene with no splattering; using brushes only, but I am pleased with the luminosity resulting. This is down to the layering of washes.
If I remember on my previous attempts I tried a loose approach which lost the constant tonal changes throughout the piece and resulted in taking out and scratching back. Slowly building up those changes this time seems to have paid off without it becoming overly fussy.
I must admit that I was inspired by the texture I got on my previous painting that I put out on my last post and so I decided to try and apply the splattering techniques to a scene I had done before in the hope that I would get a less staid outcome.
Well there is a lot of splatter on this but the outcome was less than I had hoped for. Perhaps I could have put the tree trunks and branches in whilst the paper was wet. I also did the splatter in two sections, one for the canopy leaves and one for the undergrowth. I also lost the translucency and the light coming through which I had in the earlier watercolour. So back to the drawing board – sorry about the pun.
Another floral theme, though without the flowers. I liked the idea of the remaining leaves dancing in the sun before they fall and bitterness and ice struts in. This painting was done fairly loosely, trying to build up texture with spray as well as painting wet into wet. This has inspired me to look at some other woodland scenes I have struggled with in the past.
This is a painting of a guy I was at art college with and who occasionally models. He stepped in last week when the original model pulled out. I was pleased with the face as it captured him really well, the trouble is with the hands, which I could have tidied up later, but as I gave him the painting at the end of the session, it’s too late.
I have noticed that there is less of an appetite for landscape these days. This has come about by observing other people’s superb work languishing in exhibitions. It seems that unless there is a connection with a particular view there is no interest. But I must say I love painting them. This is based on a view I saw looking over a fence in Berkshire the other week. I love the lush foliage and the shocks of light and shade – so I’ll go on painting them even if no one is too bothered.
Other landscapes are available for sale on my website: grahammcquadefineart.com or get one commissioned – I have very reasonable rates.
I’ve done scene before and posted it, but I came across it the other day and wondered if I could try it in the three cool colours I use, following on from the previous post where I used three warm colours. So this was done with lemon yellow, alizarin red and winsor blue. I have tried this combination before and found it quite difficult, when compared to using the warm colours – maybe it’s the more staining effect of the winsor blue and alizarin which can quickly overpower the painting . I must try a few more to see if you get a different feel to the paintings with the cooler colours.
I wasn’t completely happy with the original painting which you can see below and applied the paints on this one in a much looser way.
I was working on some bigger and more intricate paintings when I saw an advert for travel which depicted a river valley. I loved the colours in the photo where green was the mother colour but didn’t overwhelm. I felt I needed a rest from my acrylics and banged out this sketch this morning. I decided to add a stand of trees as a focal point which I masked out, but in hindsight should have just protected by keeping the area dry instead. I intended using only three colours, warm red warm blue and warm yellow but quickly realised I needed a cool blue to help out and get the depths of colours that were needed.