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.
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.
A few loose washes and plenty of splattered masking fluid got this off to a good start. I wanted the smokey luminosity of low autumn sunlight and it seems to have worked at least for the top half. A very similar subject to an earlier painting I posted , but not surprising as they both were from images taken on the same day, but I like the air of mystery in this one.
OK an old image for the New Year, but I wasn’t happy with my first attempt at ‘Entering Ainsdale Woods’. So here’s a second go and a title that saves overtaxing the troll’s sticky fingers.
I always have difficulties with light foregrounds against dark backgrounds and on the first one I had to resort to gouache to make some reclamations. I also felt the background tree trunks were too uniform and the dog needed repositioning. The first one looked quite good on the screen but the original didn’t stand up to close scrutiny – so that’s why you’re getting it again. This one has a lighter touch and brings out the sunlight on the autumn leaves which was something I was after.
So in compensation for repeating work, here’s a second painting, this time a repeat of ‘Receding Tide’. Hopefully I have now got the still wet feel of the shingle which I felt was missing on the first go and I extended the amount of shingle to break up the textures .
Having travelled back from my Life Drawing class and needing to set up an exhibition this week, I have not had time to paint anything new. Then as I was browsing through images on my camera I spotted one I had done a couple of weeks ago and not posted. I recall at the time I wasn’t too taken by it, but after a couple of weeks my antipathy has softened, so here it is.
I also should post it as I have a rule to post everything I do, whether I like it or not, which I pretty much follow, another reason to inflict this on you.
This was another response to to the forest walks we went on, described in previous blogs. In fact I completed this one before the last blog I posted. I tried some sketches first in pastel and in the end decided to combine them all for the final piece.
Any resemblence to Mondrian’s Broadway Boogie Woogie is coincidental and I did get increasingly aware of it as I built up the painting, with its lines and small blocks of colour particularly as he did some very inspiring trees as well – well worth a look at.
I apologise for another version of sunlight through trees on consecutive blogs, but in mitigation they are in different media.
I mentioned in previous blogs about walking with a group of French visitors who had come to Southport. On the Saturday we had a sunny walk, taking lunch on the beach at Formby. I posted a painting I did of the scene on 24th October. This is another painting based on views I saw, that day, on our way to lunch, walking through the woods to Formby and then on to the beach. I have done another, very different version of these woods. I’ll post that in my next blog.
I tried to keep this painting very loose; spraying the paper with water and then throwing paint into the dampened area after which I then drew into and painted with a brush. As I was building up layers of paint I spayed in masking fluid both on dry and damp paper at differing times of painting, so the masking fluid covered different colours and tones.