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.
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.
I wanted to try another single colour painting and thought that yellow might be worth a go. I wasn’t happy with the outcome as the tonal range was too shallow. Plan B was to mix a blue with one of the yellows. I selected winsor lemon and added varying amounts of French ultramarine. The ultramarine allowed me to get a bigger tonal range and hopefully a sense of calm and light I was after.
At the end I glazed the whole painting, except for the sun area, with winsor lemon. Not sure about the effect as it softened some of the features, but once done there’s no going back.