On my last post I showed two sketches I did on a morning painting trip near Burscough in Lancashire. Here is a scene I saw on the way between those sketches. The old cottage and canal boats caught in the sunshine, contrasting with the shade of the bank I was cycling on. This was the reason why I didnt paint it at the time – being in the shade, the paint would have taken an eternity to dry and I would probably be still painting it.
Presently I am debating whether to go in darker with the overhanging leaves on the near bank: I was taken by the gloominess and darkness of the bank compared to the brightness on the other side. Perhaps a metaphor for life – though it looks like the cottage needs a lot of work doing to it and I’d much rather be out painting.
May has been uncharacteristically cold around here – not the kind of weather to dry your watercolours in when painting outside. Being of an impatient nature, waiting for paint to dry is just too hard for me. But yesterday the weather changed, with southern winds and bright sunshine. I got up shortly after 5am and headed towards the canal. OK, this first one isnt of the canal, but the canal was close by. The silhouetted shapes caught my eye and I thought that it would be a good one to start with.
Later I did settle down by the canal at a place called Parbold and painted the canal boats moored by the village.
It was great to get out in the morning. Hopefully there will be a few more mornings to come. Apart from these sketches I also took some photos so I have plenty of material for further paintings.
Having recently sold a couple of canal scenes I thought that I would paint a view of the Leeds to Liverpool Canal at Parbold. Another reason was to rattle the Troll’s cage – it gets agitated when it sees a canal – though never reading its rants, it might have changed for all I know or care.
I liked the boat tucked into the sunny mooring though I changed it to a narrowboat and the figures I borrowed from another photo. I saw some guys in a narrowboat when I was painting along the canal in the summer. They didnt look your usual barge folk. When I packed up to leave I walked past them and heard them speak in a foreign language. Later, it occurred to me that perhaps they were using narrowboats to house foreign workers – or perhaps illegal immigrants, who knows. There are quite a few craft well past their prime moored along the canal so that might be an easy way to raise some income. Though once you`ve handed the keys over your asset might disappear off into the sunset, never to be seen again.
I’m sure this bridge has a name, but it isnt marked on any map as it is now just part of a barely used footpath crossing the Leeds to Liverpool Canal at Lydiate, north Liverpool. When I’ve walked the path I recall a sign directing you to the named bridge.
I was taken by the layers of light and shade and the shadows on the bridge as I turned to look at it whilst walking along the edge of a field alongside the canal. I painted this a while ago, and it got put into the pile only to be rediscovered a few days ago when I was having a sort out for an exhibition.
A confection of motifs, some of which I have painted before, to try and evoke long languid days on the Leeds Liverpool Canal , or any other canal come to that. With a barely perceptible flow, canals create, in me, a calmness that befits a hot summer’s day.
I started with reds greens and yellows; colours of the summer, washing them across the sheet and then added vignettes of animal and human activity – or lack of it – in an effort to fill the space.
Another one from last week’s cycle rides. This is part of the Leeds Liverpool Canal. I liked the light coming in through the trees on the left and dappling the bridge.
Following my half imperial painting I showed two posts back, I used the other half of the sheet for this painting. I was really taken with the light coming in through the plane trees on the left and the coda of the building on the far left – see below.
But with it I had a foreground expanse with little going on. I threw a quarter imperial mount on the finished painting it and discovered a much more succinct image.
Now it’s cut for a quarter imperial mount – so there’s no going back.
One to stir up the Troll. Its snide, anonymous comments continue – well I presume that they do, as for the last few weeks I have found a way of discarding without viewing their content. I assume this will continue as canal scenes seem to trigger a bigger tirade of ire than most other topics.
Perhaps this tactic may result in discarding a comment from someone who has a serious point to make, but in my eyes the risk is worth it.
So here is a calming winter scene by the Leeds to Liverpool Canal – well it calms me.
I have a couple of demonstrations to do next week and I like to have a practice to ensure I can do them in under the two hour time slot that they tend to give you, as when I do them originally I never watch the clock.
For the first one I was asked to do this family of swans that I saw when I was out painting along the canal bank one morning. The lady who engaged me had seen the first painting in an exhibition and like the way I had done the water. I posted the first painting on this blog a while back.
On this one the background ripples seemed a bit bent and the swans had an improbably large family so I had another try.
On this one I think I got the ripples right but I did like the tone of the near water on the first one and now the cygnets are barely discernable. Anyway, now I can see the problems and can draw out something that might work on the day and I now know I can complete in under the two hours. So on to the second demo…
The Saracen’s Head is the name of the pub and restaurant you can just see on the right. Using a zoom lens I was able to stand on a bend and get a view of the canal as if you were approaching in a narrow boat.
The pub is quite a good place to eat and, according to my mate, the fishing isnt too bad around here also, as he is often to be seen on the other side of the bridge that you can see up ahead, sitting with his rod as he passes the hours.