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!

Friday, 22 January 2021

Tate Birches - stage 2


 I'm working over the whole painting at the same time on this one, there is no area finished yet as the values are really important on this one so I have to make sure I don't go too light or too dark on any area. In fact to work as a kind of pattern I have to keep most of it in the middle values so it's a question of going quite carefully and not get tempted to go in my usual direction of giving it much depth.

Strong Southerly


 It looks like I'm going back to painting on board again for this series of pictures trying things out, a gap of about eight years or so since I last worked on board.

This one is a Tonalist painting of Brighton seafront where I live which is based around three current interests: colour, design and atmosphere. A strong southerly wind has blown the sea spray across the promenade which gave me some interesting design possibilities so I decided to keep things simple and let the basic design take centre stage by keeping the colours (a violet/yellow complementary) desaturated and simplifying the shapes of the buildings so that in the end it is literally about colour, design and atmosphere.

The colours I used are mentioned in a previous post on this blog.

Oil on mdf 12" x  12".

Thursday, 21 January 2021

Tate Birches - stage 1


 While waiting for "Strong Southerly" to dry so that I can scan and post I have been getting on with another trial painting quite different to the previous of the Silver Birch trees outside the Tate Modern in London at dusk. This one is about ending up with a painting that is more about pattern and texture and I am planning this to be about the design and am not going to try and give it a lot of depth as it will kill the pattern idea.

Colours used so far are: Ultramarine Violet, Ultramarine Blue, Kings Blue Light, Permanent Orange, Burnt Sienna, Naples Yellow, Bright Green Lake and Zinc White. 

Oil on mdf 12" x 12".

Wednesday, 20 January 2021

Infected By Art


 A big thank you to Infected By Art for including my IX Commission in IBA 9. I have managed so far to get at least one accepted every year for the past six years, unfortunately I didn't get in the Art Renewal Center's International Salon this year, first time in five years that I have missed out. There's always next year....

Tuesday, 19 January 2021

Strong Southerly - stage 1


 So I'm going to go back to painting on board for these following trial paintings. This one is a Tonalist one of the seafront in Brighton where I live after a strong Southerly wind has blown the sea spray onto the promenade, these stripes of wet ground offer some interesting possibilities for the design of the picture and I am going to keep the shapes relatively simple  of the buildings so the whole picture will focus on light, design and atmosphere. I was going to try to paint the whole picture in one session but that was silly so I will let the paint dry overnight and work on it tomorrow.

Colours used were: Ultramarine Violet, Winsor Violet, Manganese Violet, Burnt Sienna, Permanent Orange, Bright Green Lake, Lead Tin Yellow Lemon, Zinc White and Warm White.

Oil on mdf  12" x 12".

Monday, 18 January 2021

Madurai

 

As part of this period of trying things out I decided for this one to go back to painting in a way that I used to do ten years ago when I used thicker paint on board. I thought that thicker paint would suit an image of detail and complexity first and chose to try and get across the chaos of a city street in India. This is a kind of an imagined memory of my visit to Madurai about eight years ago and shows one of the streets leading up to the Meenakshi Temple on a hot dusty afternoon with the gopuram shimmering in the light. I wanted to try and get across the wonderful chaos of an Indian street but by choosing a centered composition I shot myself in the foot a bit, I should have chosen an off-centre composition but never mind this was mainly a technical exercise so I guess it suits the purpose. 

Most of this picture is painted in quite a spontaneous way and the detail was often determined by individual brush marks that coalesced to look like architectural detail etc. The basic building shapes are from basic reference photos I took there but everything else is made up... apart from the gopuram and the tuc tucs.

Oil on mdf board 18 1/2" x 18 1/2".

There is a short step-by-step progress through this painting including the colours I used in previous posts on this blog.

Thursday, 14 January 2021

Madurai - stage 4


 Yes I decided over my breakfast coffee to change the sky for two reasons: first the colour was wrong and secondly I needed to break up the symmetrical composition by having the blue on one side only (mainly). I also reinstated some of the power lines which helped too. Hoping to finish the first pass of colour tomorrow.