Terri 4 - stages 1 and 2

While "Stockbridge 6" dries between glazes I have moved on to another figurative painting that again is a continuation of a series began in 1996 when I was using a lot of different golds in my work at that time. I found this kind of work was not viable in terms of the prices they sold for compared to the amount of time it took to paint them so I ceased doing them and moved on to pastel (and digital) and of course later on to oil. Terri is the name of the model that I used to use a lot in those days and while I continue to experiment with some decorative figurative paintings I am using some old reference photographs from those days. After first being "drawn" up in Ultramarine Violet thinned with Liquin I applied a coat of Deep Ochre (again thinned with Liquin) and dropped bronze powder onto the wet paint which spread out when blown and brushed to form a uniform warm gold background.

Stockbridge 6 - stage 4

Applied a glaze of Permanent Rose to the background and another layer (glaze) of "black" to the darks. After some more work on the face and body I called it a day to let it dry for the next glaze to be painted tomorrow. As glazing slows my painting process down I have decided to get on with another figurative painting so that I can move from one to the other thus avoiding wasting time waiting for a layer to dry. I am glazing the background as I want an intense colour which cannot be achieved any other way.

Stockbridge 6 - stage 3

I painted a wash of orange thinned with Liquin and tupentine on the background with a rag as well as some thinned "black" (a mix of Alizarin Crimson, Dioxazine Purple and Permanent Sap Green) into the bottom and edges of picture. A second layer of "black" was painted onto the figure and the underpainting for the arm and face is now finished. I want an incredible deep and varied red for the background to be the star of the picture, the figure will be more low-key and secondary.

Stockbridge 6 - stages 1 and 2

This is the next in a series of portraits first painted in the late 1990's (after a gap of 15 years!) of Sarah Stockbridge, the model and muse of the fashion designer Vivienne Westwood. The first 5 were painted in acrylics, gold and bronze powders but of course I have changed media a number of times since then. For this one, again on canvas, I want the figure set against an intensely coloured, subtly textured background, the lightest area being the shoulder although I don't want the figure too bright against the background as I am after quite a moody painting. It was first "drawn" up in Ultramarine Violet and then I blocked in the background in a mix of Venetian Red, Dioxazine Purple, Liquin and turpentine with a rag, spattering it with turpentine and wiping off afterwards for some texture. I then blocked in the darks with a mix of Dioxazine Purple and Permanent Sap Green and painted the skin with a thinned Ultramarine Violet, all with Liquin.
 

Chrysler Blues

Thought that I would paint one of my Urban America pictures on canvas and I must say I am finding it much easier to get the soft effect I often look for than when I was painting on MDF board. As with most of my pictures there is a step-by-step sequence of posts of this painting earlier on this blog. I wanted the Chrysler Building to be the focus of the picture with the busker playing the steel National guitar to be a secondary feature, the whole picture being painted in tones of blue to tie in with the title. 16" x 16" oil on canvas.

Chrysler Blues - stage 5

Finished buildings on the left of the street, the Chrysler Building and the underpainting for the building on the right. Still like painting on canvas but for some reason not working as quick as I should.....

Chrysler Blues - stage 4

Painted in the Chrysler Building, adjusted the sky and made a start on the buildings on the left. I am probably putting in too much detail in these buildings but I will wait until everything is finished in the background and then simplify where needed. I want to keep the picture full of colour and avoid any areas that are too grey by using slightly desaturated blues instead. The Chrysler Building is the focus of the painting so I will keep the figure silhouetted but without too much light behind it.

Chrysler Blues - stages 1 to 3

Trying out one of my urban America paintings on canvas. I'm looking for a soft and moody feel, the title refers to the busker with the Chrysler Building in the background, the whole painting dominated by the colour blue. Hmmm, those lights in the windows top left are going to have to go right back......

Stage 1

Drawn out first in Ultramarine Purple and Liquin, Stage 2 painted in with a 50/50 mix of Liquin and turps so that it would be dry for the Stage 3 underpainting this afternoon.

Stage 2

Underpainting

Cuckmere Gold

Another painting of one of my favourite landscapes, the meanders of the Cuckmere river as it nears Cuckmere Haven in East Sussex. I wanted an ethereal look to the picture but it hasn't quite worked out how I wanted (do they ever?) so this will have to do. I might try it again when I have a better idea as to how I can get the look I want.  16" x 16" oil on canvas.

Cuckmere Gold - stages 1 and 2

Trying to get on with this painting but interrupted by various plein air activities! I want a very soft and dreamy look to this picture so I am again painting on canvas. It is of course one of my favourite landscapes, the meanders of the Cuckmere river as it reaches Cuckmere Haven in East Sussex.

Pintar Rapido

Underpainting finished

I took part in the Pintar Rapido (Painting Quickly in Spanish) event in London at the weekend. Nearly 400 artists painted en plein air all over the borough of Kensington and Chelsea on the Saturday, everybody having to get their painting back to Chelsea Old Town Hall on King's Road by 8.00 pm ready to hang. The exhibition was put up overnight and opened on Sunday at midday with Ken Howard judging the £1000 prize. The exhibition ran to 6.00 that evening with all unsold work taken away by the artists at the end. I reckon they sold 35-40% of all the work, I sold mine 20 minutes before the end.

Poppies Near Denton - plein air

Four friends and myself finally got out plein air painting in the countryside today after a gap of nine months. We found a huge poppy field near Denton, East Sussex although I elected to paint the very edge of it as it met the chalky soil of the South Downs. I thought that I would try canvas again, the first time en plein air, and enjoyed using it. 16" x 16" oil on canvas.

Pelinggih

A two (and a bit)-day painting of a shrine found in all rice padi's in Bali called Pelinggih, which are dedicated to the rice goddess, Dewi Sri. This is another picture on canvas which I am enjoying painting on as it is quite different to board and I will continue to try this new surface on most of my upcoming paintings. This is the result of seeing Mucha's The Slav Epic in Prague last month which turned me on to the possibilities of canvas. It is of course yet another learning curve, this time to learn about paint on canvas (will they ever level out?) but I'm hoping this might address certain concerns I have about the look of my work as far as wanting it to look more like a painting and less "photographic". 16" x 16" oil on canvas.

Pelinggih - stage 3

Was hoping to finish this today but have been distracted by the fine weather! Still liking how the paint goes on the canvas and as before, I am using no mediums, just the paint as it comes out the tube.

Pelinggih - stages 1 and 2

Pelinggih is the name for this type of shrine found in the padi fields of Bali and are dedicated to the rice goddess Dewi Shri. I am trying out working on canvas again, this one I want to look quite soft, the lighting being influenced by the work of Bernie Fuchs. As you can see, it starts off with a "drawing" in Burnt Sienna oil and then I have filled in everything in bright but tonal transparent colours ready for the opaque colours tomorrow.

Seafront Twilight

It only took me a day to finish this, whether it's because of working on canvas I don't know. Like the last painting I have used no medium (Liquin of course used on the first day block-in in this case), just the paint's consistency out of the tube and enjoyed the way it went onto the surface. As ever (when does the learning curve of oil painting level out?) I have realised that I have a lot to learn about painting on canvas but will persevere as I like the way it forces me away from being too finicky and overly tight due to the surface being so broken up compared to board. Oil on canvas 16" x 16".