Tuesday dawned bright and sunny – just the day to get out to paint. Though I am reluctant to do it – despite having seen someone painting outside the other Saturday.
So I thought that I would do the next best thing and settled down on my deck and painted one of the flowerbeds. Even the blue tits came to the bird table feeder. Once to allow me to sketch the shape and then obligingly they returned to give me some colour hints later. The result isnt that clear, a shame after all the effort that they made.
I may even do another view if the sun gets out again..
The Saturday before last I got out on my bike and took some pictures in the bright morning light. This is of Sefton church which is in a hamlet at the north end of Liverpool. Sefton is also the name of an administrative area, within Liverpool, which stretches from Bootle to Southport, where I live.
I have painted this church before and submitted it to a local exhibition, which at that time was in Bootle town hall. The painting below sold and later, I got a phone call from the office of the Mayor of Sefton asking if I had another painting of the church. Though they apparently didnt like the other paintings I had, as they never bothered to get back to me.
I have resisted taking my paints with me on my recent trips, but as I was out on this day, I came across a painter at his easel. He clearly didnt want any interaction as he turned away from me as I approached. I didnt even get to see what he was painting. For me though, for a while, I will use my camera.
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.
Another view from my cycle outing on Monday morning across the Moss situated behind Southport, north of Liverpool. The single track lane shuffles across the reclaimed marshland, dodging the scattered farms. The tilled fields ready to sprout barley, cabbages, carrots and potatoes.
I thought that I would do this on a half imperial sheet, rather than the quarter sheets I’ve been using recently.
On Monday morning I decided to try and lift the lethargy I described in the previous post, by getting out on my bike and seeking out new material. Normally I would have taken my painting gear, as it was a bright, if blustery morning, but I felt that that might upset the locals, so I put a camera in my pocket instead, and headed off along Plex Moss Lane – the lane defined by the posts in the watercolour above, past the farm you can see, and across Halsall Moss. Taking pictures as I went.
The land rises as you come off the Moss and there was a line of trees.
I did this one in pastel, of the trees bursting into leaf.
And I got a few more images that I can work up during lockdown.
As well as collecting images, a trip like this also allows you to pick out some possible places to paint when life does return to normal. I can waste a lot of time finding an interesting subject when I go out. If I have a few possibilities in mind before I set out it can set me off in a much better frame of mind when I settle down to paint.
I have been lethargic of late and this was an attempt to break the cycle. I wanted to do a loose painting of a jugful of flowers my wife had gathered from the garden.
It started loose but became tighter as I played around with the lights and shadows. I think this approach works well with large blooms such as the camellias, but the daisies and other small flowers broke the rhythm and had me scratching around and tightening up.
Having completed the exercise I can see where improvements in technique can be made. Now, I just need to break the lethargy…
A few repeats here. Versions of these saplings in a sunny clearing in Ainsdale woods have been presented before. In this latest version I feel I have got the lightness of the birch leaves in the sun. I think the photograph flatters the painting, though it might look better in a mount.
This is of the grassy sand dunes close to the beach in the evening. This was a sketch, done on the back of a one of my many rejects. The glow works well, despite the yellow, and I used masking fluid to get the glistening tips of the foreground grass. I needn’t have bothered as I got far better results by scraping the damp paint with my scalpel. I’m not sure introducing the green in the foreground helps with the overall harmony. You may be seeing this one again.
And saving the worst to the last. I’ve presented this entrance to Ainsdale woods before . I thought that by introducing leafy branches across the path it might help to lift the image but these puny leaves look like an afterthought and trying to hint at forms in the dark areas remains elusive – oh well.