I posted a sunlit painting of a snicket along the railway track a few days ago. If you continue down that snicket, it comes out on the right, in what they call Birkdale Village – part of Southport, where I live. Here you are actually standing on the rail track with part of the station, the building on the far right.
I think it was the old phone box, lit by the early morning sun that caught my eye and the fact that the sixties carbuncle, on the left – the Spar supermarket – is mellowed and put in the shade by the light coming in over it. Colours are subdued with hints of spring leaves in the background.
A quiet scene of morning stirrings in the suburbs.
This is the last of a recent clutch of commissions: the village church at Halsall. On the right is what was the village pub – with its old sign, but is now a financial consultancy – how times have changed – and the war memorial is just visible in front of the church.
I originally did this plein air, tucked on a bank out the way, hoping not to slip into the stream as I worked, early one morning. I then turned that sketch into a painting which sold and now someone else has asked for a version. So you may have seen this before as I posted both the other versions.
On the original version I realised I had the church spire slightly out of proportion and by shortening the spire to the correct size meant I could include more of the foreground and shadows, which gives a better lead in. I was taken by the light creeping in from the right – just starting to illuminate the church and gravestones and allows for some nice tonal interchanges. I’ll keep this for a few days and see if I need to do any further adjustments
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.