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.
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.
I posted this painting, An Autumn Morning in Ainsdale Woods, in 2014 and it was around this time that I sold the original. A week ago a gentleman from Stockholm in Sweden wanted an electronic copy for a wall image in an office complex that they were rennovating. So for a small fee I am sending him a file of this image. I always keep a reasonable sized file of all my work as, in the past, I have had had people rejecting small files for publication and if you have sold the original there isnt much you can do to supply an image that meets their needs. I did think that the size of this file was too small for his purpose, but he was happy that the 5Mbyte file was large enough. He will send me an image of the layout when the project is complete. It will be interesting to see the work in another context.
Another corner of a field and another repeat. In my last post it was a restrained approach to a similar subject. This was more about pouring and spraying and trying to make something of it after the deluge.
I certainly liked my last version of this, but it stayed on the shelf after many outings. So it was back to the easel and this time I have removed some of the darks and put in more foreground colour. I have emphasised the light through the trees and introduced a fence post to redress the compositional balance – anything for a sale.