This is where my latest work can be seen including step-by-step progress reports, news and merchandising as well as features on artists, living and dead who I would like to draw people's attention to. Please note all my images are covered by International Copyright laws. Copyright to other artists images resides with the artist or their estate, their inclusion on this blog a result of my missionary zeal and to no profit for myself!

Saturday, 24 June 2017

Midnight Keep - stage 7

Not really a stage as such, just the work I was able to get done on the sky this morning before packing up to leave the studio, back on Tuesday. There will be a couple of glazes over the sky once I am happy with the area around the moon.

Firefox won't let me upload the photo so this is just a post to say I will be back on Tuesday to carry on with the painting!

Friday, 23 June 2017

Midnight Keep - stages 4 - 6

Stage 4
I wanted to block in a lot of colour today so that I can see where it's going. The first stage was to get some sky painted in with mixes of King's Blue Light, Phthalocyanine Blue and Green, Permanent Orange and Lemon Yellow. I decided that it would look more interesting if I put in some clouds after originally seeing it as a cloudless sky. In stage two I blocked in the distant mountains with the moonlight hitting the ice on the peaks and lower lying clouds. 
In stage three I blocked in most of the rest of the painting with transparent mixes of Phthalocyanine Blue and Burnt Sienna. This now gives me a good idea of the general look of the painting and want to leave it now and look at it with fresh eyes tomorrow morning.

Stage 5





Stage 6
 

Thursday, 22 June 2017

Midnight Keep - stage 3

When I returned to the studio this afternoon I decided to give the whole painting another wash with a rag of Burnt Sienna and Winsor Violet thinned with Liquin and turpentine. It is a moonlight painting so it would be darker with less contrast and I want a warm cast to the whole picture which I hope to achieve by the brown underpainting showing through the top coats of paint. The distant mountains are to appear quite ghostly just being lit by the moonlight - planning to start the sky and mountains tomorrow.

Monday, 19 June 2017

Midnight Keep - stage 2

With a rag I washed in an initial tonal underpainting of a mix of Burnt Sienna and Winsor Violet thinned with Liquin and turpentine. This gives a very rough idea of the lighting design with the lightest areas being the moonlit sky and reflections in the beach at low tide although the shapes won't be so defined in the background as I intend to have banks of fog and cloud lit by the full moon, but generally speaking the area at right of centre will be the lightest. The painting will be based around a red/orange - green/blue complementary colour axis.
I will be away from the studio now until Thursday when I hope to make a start on the sky and block in some more tone in the dark areas.

Sunday, 18 June 2017

Midnight Keep - stage 1

The last of the series of five nocturnes this one is going to be much more colourful than the previous ones as I am going to paint it as though it's a combination of Atkinson Grimshaw and Albert Bierstadt of the Hudson River School. This first stage was "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor violet thinned with Liquin and turpentine. The next stage, which I was hoping to do today but it took longer to draw up than I had planned for, is quite crucial in that I am going to block in some tone which will determine the lighting design for the painting, this will now be done tomorrow morning. There will be a full moon in the sky which will illuminate the landscape with much warmer colours than I have so far used in this series, these colours being very influenced by the Victorian painter Atkinson Grimshaw. I have put a small figure in the foreground which may or may not make it to the final painting.

Wednesday, 14 June 2017

Midnight Mahal

The fourth in a series of five nocturnes, this one was conceived to be very dark with no light source showing so the colours have to be pretty saturated to make it look interesting. It is based on reference photos I took at the Taj Mahal when I went to India last year. This is an imagination of how it would look on a barely moonlit night, although it is very hard to photograph and doesn't really show how the finished picture looks, it is darker and moodier than it appears here with much more of a blue/green cast to the colour. As the painting is pretty dark getting the values right was crucial and I can only hope that the scan will show it better (when it's dry).
18" x 24" oil on linen. There is a step-by-step progress through this painting in previous posts on this blog.

Tuesday, 13 June 2017

Midnight Mahal - stage 9

I have painted over two glazes of Phthalocyanine Green and Blue thinned with Liquin and Lukas Number 5 Medium, once in the morning and another in the later afternoon. In tomorrow morning's session before I am away for a few days from the studio (back Saturday) I need to paint another glaze over certain areas to bring back some volume to the building as well as darkening the sky.