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!

Thursday, 20 June 2019

Oliver's Island Autumn Sunrise

This is the last of the quartet of paintings of the same location, Oliver's Island on the Thames at Strand On The Green, under different lighting and season etc. I was dismayed to find that when I went to visit the location in West London last week the poplar trees were no longer there but I decided to paint them in for continuity's sake to fit in with the others. I was originally going to have a Summer blue sky with white fluffy clouds but again didn't feel that it would fit in with the others so I went for a warm and dramatic feel, two cold pictures two warm.
All four paintings are actually based on a blue/green - red/orange colour complementary, each one being a variation within that range of colour. 
I must now get on with writing the next article for Artists & Illustrators magazine that will be incorporating aspects of these paintings and other recent pictures.
16" x 12" oil on linen.
There is a step-by-step progress through this painting in previous posts on this blog.


Wednesday, 19 June 2019

Oliver's Island Autumn Sunrise - stage 3

I have actually already finished the painting and am waiting for it to dry so I can scan it but in the meantime here is the stage from yesterday when I had finished the sky and island etc and I had started to block in the colours for the water reflections. As you can see I use a flat brush to lay in vertical strokes of darker versions of the colours in the sky into the water area. When all the area is covered I run a dry brush horizontally across the surface of the paint to give the impression of light reflected on water.

Monday, 17 June 2019

Oliver's Island Autumn Sunrise - stages 1 & 2

Stage 1
Actually I did these a few days ago but have been away for the weekend where there was no wifi or phone signal so the is the first chance to post them. This is the last in this series of paintings of the same location in different lighting and season etc. I was going to do a Summer one with blue sky and fluffy white clouds but I didn't think that would fit with the others so I went with another more dramatic tonal one instead. I actually have a bit of a dilemma with the poplar trees on the island; I went there last week and was mortified to see that they are not there any more but for continuity's sake I have decided to keep them there for the last one. 
Stage 1 was "drawn" up first with a small bristle brush using a mix of Burnt Sienna and Winsor Violet with some Liquin and then with a rag I rubbed in the tonal underpainting over it using the same paint mix.
Stage 2 is the first colour pass on the sky and in common with the rest of this series it is based on a blue/green - red/orange colour complementary. Colours used were Phthalocyanine Turquoise, Pale Violet, Permanent Orange, Burnt Sienna, Lead Tin Yellow Lemon, Yellow Lake Deep, Zinc White and Warm White - all Michael Harding paints.

Stage 2

Tuesday, 11 June 2019

Oliver's Island Winter Sunrise

This is the third in this short series of paintings of the same location in different lighting conditions, season etc. As the first two were cold in colour I thought that I would paint this one in warmer ones in this case a sunrise in the Winter. All these paintings are basically Tonalist in palette with this one based on a blue/green - red/orange colour complementary using relatively desaturated mixes of Prussian Blue, Naples Yellow, Permanent Orange, Lead Tin Yellow Lemon and Warm White with some Permanent Sap Green later on - all Michael Harding colours.
I now want to paint the last one in the Summer and have just got back from a generally frustrating trip to West London to photograph the island in Summer foliage. I managed to get the photo's but achieved little else otherwise!
I have been trying to apply the mantras stuck to my easel from trying things out earlier in the year, "Lose Edges, Join Shapes!" and "It's the Painting not the Place" (see posts on this earlier in the year on this blog). Indeed I have to start writing very soon an article for the Artists & Illustrators magazine on this very subject...
16" x 12" oil on linen.
There is a short step-by-step progress through this painting in a previous post on this blog.

Sunday, 9 June 2019

Oliver's Island Winter Sunrise - stages 1,2 & 3

Stage 1
I have now moved on to the next one in this short series of paintings of the same location in different lighting conditions, time of day and season. The first two have been cold in colour so I thought I would paint one in warmer ones, in this case sunrise. It's based around a blue/green - red/orange colour complementary.
Please go to earlier posts for information on the location in West London.
The first stage, the Tonal Underpainting was painted first with a small bristle brush and then with a rag using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.
I added colour in the second stage using mixes of Prussian Blue, Naples Yellow, Permanent Orange, Lead Tin Yellow Lemon and Warm White - all Michael Harding paints.
The third stage used the above colours plus the addition of Permanent Sap Green with which I roughed in the Island and water etc.
Stage 2

Stage 3

Oliver's Island Winter Storm

Before getting on with "Dawn Of The Hamadryad" (and as a change from more branches and twigs) I am going to paint a series of probably four pictures of the same location under different lighting conditions, weather and time of day. I have chosen Oliver's Island on the Thames at Strand On The Green in West London and have already painted the first a few months ago, now retitled Oliver's Island Late Dusk". The Island or Ait as they are known in this area was supposedly where Oliver Cromwell stayed for a while during The Civil War but probably a myth, the London Underground bridge to Kew and Richmond can be seen at the left of the island. I have chosen a London location with one eye on entering them in the Royal Institute of Oil Painters juried show at the Mall Galleries, this year's theme being "London" - I have been accepted a number of times previously.
I'm fairly happy with it but think it's a bit too photographic for my intentions and will try and make the next one look a bit more "painterly".
Based on a blue/orange complementary I have tried to keep it relatively desaturated and cold looking in keeping with the season.
16" x 12" oil on linen.
There is a step-by-step progress through this painting in previous posts on this blog.

Thursday, 6 June 2019

Oliver's Island Winter Storm - stages 2 & 3

Morning Session
Managed to paint most of the sky this morning and the rest this afternoon. It's based on a blue/orange complementary and was painted with mixes of Prussian Blue, Ultramarine Blue, Permanent Orange, Zinc White, Warm White and Naples Yellow - all Michael Harding paints.
I blocked in a thin mix of Prussian Blue and Permanent Orange over the land and water in readiness for tomorrow's session. The lightest part of the picture will be the large white cloud directly above the boat and jetty, roughly composed using the Rule Of Thirds for placement. The overall colour of the painting is to be kept cold and relatively desaturated.

Stage 3

Wednesday, 5 June 2019

Oliver's Island Winter Storm - stage 1

Before getting on with "Dawn Of The Hamadryad" I fancy getting away from twigs and branches for a while and will be painting a short series of the same location under different lighting conditions and weather. I have chosen Oliver's Island on the River Thames of which I have already painted the first a few months ago and have retitled it to "Oliver's Island Late Dusk". I have chosen a London location (it's an island or Ait near Strand On The Green in West London) with one eye on the upcoming Royal Institute Of Oil Painters juried exhibition at the Mall Galleries for which I will enter these if they work out OK. The theme of the show is "London".
This first tonal underpainting stage was "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor Violet thinned with Liquin and Lukas Number 5 Medium so that it would be dry for the afternoon session when I put in the tones with a rag and flat brush using the same paint mix but without the Lukas Number 5 Medium.

Oliver's Island Late Dusk

Sunday, 2 June 2019

Winter Hedgerow

Well most paintings work out some don't, you have to take it on the chin and move on. The idea for "Winter Hedgerow" arrived out of the blue and I felt duty-bound to paint it. It's a follow-on from the recent small tree paintings which are studies for a larger upcoming one called "Dawn of The Hamadryad". This one was meant to be a low key piece kind of showing the complexity of Nature in an ordinary hedgerow, which it is.....but it lacks the lightness of touch that I was hoping for from using a way of painting that involved erasing highlights with a brush dipped in clean turpentine. Luckily I have only spent a few days on it and I must admit that I have learned something from doing it so all is not lost. 
Before going on to the larger painting I fancy doing a few looser, more expressive ones to have a break from the finicky brushwork of these recent tree pieces...and to put into practice those mantras that are stuck to my easel - "Lose Edges, Join Shapes!" and "It's The Painting Not The Place".
16" x 12" oil on linen.
There is a step-by-step progress through this painting in previous posts on this blog.

Friday, 31 May 2019

Winter Hedgerow - stages 2 & 3

Stage 3
Stage 2 was rubbing with a rag a thin glaze of Permanent Sap Green mixed with Liquin and Lukas Number 5 Medium over all the painting and then taking out some highlights with a small bristle brush dipped in clean turpentine. As I had used Lukas Number 5 I was hoping that it would then dry for the afternoon's session, it did.
Stage 3 was basically working in transparent colour (Permanent Sap Green, Alizarin Crimson and Permanent Orange) to emphasise shadows and start to give things some more form. It's meant to be subtle and low key and I'm not sure yet if it's working but even if it's a failure I will have learnt something without spending too much time on it. Nothing ventured nothing gained as they say.

Stage 2

Thursday, 30 May 2019

Winter Hedgerow - stage 1

I am just painting this before going on to "Dawn of the Hamadryad" as the idea just popped up and felt duty bound to try it. It might not work out but it will be useful for "Dawn...." so hopefully I won't be wasting my time. I want this to be more of a pattern with one tone pretty much across the whole picture although I have included a fairly dynamic compositional use of the tree trunk etc so it should be lively...and subdued...at the same time...
Stage 1 is the tonal underpainting pushing around a paint mix of Burnt Sienna and Winsor Violet with a battered synthetic brush and then erasing with a small bristle brush dipped in clean turpentine.
I rarely throw a brush away, old knackered brushes are great for mark-making and textures.

Tuesday, 28 May 2019

Dryad

This is the second study painting for the upcoming larger piece "Dawn of the Hamadryad". This one was to see how I was going to integrate the figure into the tree as well as working up this new way of painting trunks and branches etc that resulted from a trial painting at the beginning of the year called "Elies Dendro".
This one was very useful as I can see now how I can improve the way the figure will integrate into the tree, chiefly by having more branches in front of her and making the branches flow through the figure's positioning of arms etc - I have left "Dryad" as it is, imperfect but showing me what I have to do in the next one. Actually the next painting will probably be another exploration of this new way of painting trunks and branches etc painted more as a pattern...then I will start "Dawn of the Hamadryad".
I am trying for more of a Victorian-era painting look like a Waterhouse and less classic "Fantasy" as such - yes a tall order, to dare to mention Waterhouse in talking about my own work is tantamount to blasphemy!
12" x 16" oil on linen.
There is a step-by-step progress through this painting in previous posts on this blog.

Friday, 24 May 2019

Dryad - stages 6 & 7

Stage 6
In Stage 6 I tried to get the tree pretty much finished bar the area to the right behind the figure.
In Stage 7 I have made a start on the figure and seeing how I am going to integrate it into the tree. This is why I'm doing this as a study, once I have worked it out on this painting then I can apply it to "Dawn of the Hamadryad".

Stage 7

Wednesday, 22 May 2019

Dryad - stage 5

Sorted out the sky background today and then carried on painting the tree. The sky was too cold and had too much pink in it so I warmed it all up a bit by putting in some oranges. Hopefully will finish the tree tomorrow so I can make a start on the figure.

Tuesday, 21 May 2019

Dryad - stages 2 - 4

Stage 2
I unaccountably forgot to post the update on this yesterday so here is how far I have got with "Dryad" at the end of today. Yesterday I put in the tonal underpainting letting the small bristle brush free to roam around and create the forms and detail using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.
This morning, Stage 3, I put in some basic washes of colour with a rag using these colours, Ultramarine Blue, Cadmium Yellow Light, Magenta and Permanent Sap Green thinned with Lukas Number 5 Medium and Liquin in the hope that it would be dry for this afternoon's session.
It was indeed dry for this afternoon's session so Stage 4 was working into and emphasising the shapes from the underpainting on the tree using a mix of Permanent Sap Green and Alizarin Crimson. I also made a start on the background colours by adding some Permanent Orange to the Magenta.
Stage 3

Stage 4

Sunday, 19 May 2019

Dryad - stage 1

This is the early rough-in for the second and final study for the upcoming painting "Dawn of the Hamadryad". This second one called "Dryad" is to work out how I'm going to integrate the figure into the tree. I would prefer to work this out on a small painting and then hopefully use what I have learned for the final larger picture. 
This stage was put in with a rag apart from a small brush to put in the lines of the figure using my usual mix of Burnt Sienna and Winsor Violet thinned with Liquin. 

Saturday, 18 May 2019

Dawntree

This is really a preparatory study for an upcoming painting called "Dawn of the Hamadryad" as I needed to see how I could go about painting the tree branches etc. I might do one more preparatory painting as I need to see how I'm going to incorporate the figure into the tree.
There was no under drawing as such on this and went straight to painting in the trunk etc in a spontaneous and hopefully organic way trying to mimic Nature. I then added some washes of transparent colour before working into the shapes created in the first stage. Once the colour started to go in the painting started to look very "Fantasy" which is fine but I want the final painting "Dawn of the Hamadryad" to look more like a Victorian-era picture such as Waterhouse etc - OK I accept that it will never be as good as those guys but I'm going to have a go!
This study has actually proved pretty popular in Instagram as I have posted the progress so that's encouraging. I might show this at IX in October, we'll see.
12" x 16" oil on linen.
There is a step-by-step progress through this painting in previous posts on this blog as well as on Instagram, I can be found on Instagram as "paintingsbymarkharrison".

Thursday, 16 May 2019

Dawntree - stage 3

I have gone along with one way of trying out what I'm looking for with this and should finish it tomorrow morning. I will then do another of these trying out another way of getting to what I'm looking for. It's difficult to describe here but hopefully the next one will illustrate what it is!
This one is looking very "Fantasy" I guess because of the colours, the final painting "Dawn of the Hamadryad" will actually be less Fantasy than this, I'm trying to get it to look more like a painting from the Victorian era like a Waterhouse etc...

Wednesday, 15 May 2019

Dawntree - stage 2

Renaming this so that it ties in better with the painting that it is a study for, "Dawn of the Hamadryad". Although slightly unwilling to add colour to stage 1 as I quite liked it as it was I nevertheless ran some washes of transparent colours over it as I need to try out the look for it that I have in my head. I used thin washes of Ultramarine Blue, Indian Yellow, Magenta and Permanent Sap Green all mixed with plenty of Liquin. I stopped at this point this afternoon as I need to consider where I go from here. I think I need to bring in some red into the tree (Using Alizarin Crimson for this) and keep the green more subtle as I go up the trunk - I will make the final decision over coffee tomorrow morning! 
After the washes I started working into the tree with a mix of Permanent Sap Green and Alizarin Crimson.

Tuesday, 14 May 2019

Snaketree - stage 1

I will be doing a couple of smaller tree paintings trying things out for an upcoming figurative painting called "Dawn of the Hamadryad". I learnt a few things from an earlier smaller painting from the beginning of the year called "Elies Dendro" and am taking these further. I quite like the monochrome stage as it is now and may do one of these again just in that form but for this one I will be taking it further even though I might spoil it because I have a certain look I'm trying to attain and it has to be in relatively full colour.
This stage was painted in without any drawing underneath as I wanted it to be spontaneous and organic like Nature. I used a 1/2" synthetic brush pushing around a paint mix of Burnt Sienna and Winsor Violet mixed with plenty of Liquin. Some paint was then removed with a small bristle brush dipped in clean turpentine.

Sunday, 12 May 2019

New Friends

The last in this series of spaceships and clouds paintings for the moment as I want to try out some other things next. This has a spacecraft from another world floating hidden in the clouds above a typical landscape of town and fields as the streetlights are coming on. The usual scenario of us living our little lives while above us hangs in the sky something that will change everything when our civilisations finally meet...although they might decide to stay clear of us like we would from a large dangerous wild animal and decide on a watching brief instead as we go about destroying ourselves and the planet we live on. 
Originally based on a red/orange - green/blue colour complementary I put more orange into it as I went along than intended and it became more of a tonal painting.
Another smaller painting possibly heading for IX in October.
Oil on linen 16" x 12".
There is a step-by-step progress through this painting in previous posts on this blog.

Friday, 10 May 2019

Art Renewal Center

A Secret Garden
Very pleased to see that I got three paintings accepted as Finalists in the 14th International ARC Salon Competition this year, "A Secret Garden", "Midnight Queen" and "The Dark Citadel". Sometimes getting accepted is down to judging which is the best category to enter for each painting, looks like this year I got it right! 
"The Dark Citadel" was actually commissioned by IX in the USA as an IX 2019 Commission to be exhibited later this year in October at IX in Reading PA.
I have just noticed that all three paintings are moonlit...

Midnight Queen


The Dark Citadel

Wednesday, 8 May 2019

New Friends - stage 3

Incredibly hard to get a decent photo of this painting for some reason. Anyway, I've been working on the clouds a bit more today as well as making a start on the landscape at bottom left. The spacecraft will be worked out when I get to it. It's all going to be on the dark side apart from the strip of sky at the top.

Tuesday, 7 May 2019

New Friends - stage 2

I decided to paint in all the clouds at the same time for the first colour pass so that I can finish them off tomorrow together as it will be easier to judge values and colour. The shape of the spacecraft is changing so I have left it alone for the moment and got on with other things. This will be the last in this series for a while as I want to try out a few other things not connected with IX.
Although originally based on an orange - green/blue complementary, which it still is, I have mixed in a lot more orange than intended so that it is becoming more tonal than expected - I'll run with it.
Colours used were Prussian Blue, Naples Yellow, Permanent Orange, Warm White, Lead Tin Yellow Lemon and Cadmium Yellow Light.

Monday, 6 May 2019

New Friends - stage 1

Probably the last in this series of spaceships and clouds, "New Friends" has a spacecraft from another world floating hidden in the clouds above a typical landscape of small towns and farmland at dusk as the streetlights are coming on. Yes the same scenario of us living our little lives below while above us floats something in the sky that will change everything when our civilisations finally meet...although they might decide on a watching brief instead as we destroy ourselves and the planet we live on. Maybe we're too naive and dangerous to deal with directly, maybe they don't trust us let alone us trusting them which would be highly unlikely...maybe it's best if they keep their distance for both parties...
This stage was "drawn" up the usual way with a small bristle brush using a mix of Burnt Sienna and Winsor Violet thinned with Liquin and then the same mix was applied with a rag for the tonal underpainting, a rag dipped in clean turpentine was used to erase highlights.

Sunday, 5 May 2019

Nightwatch

So there we are living our little lives in the landscape below, above us a spacecraft from another planet quietly flies above partly hidden by cloud. There are no lights in the spacecraft, are they all dead after such a long flight? After all the ship is rusty and has been in space or other worlds before us for a long time, maybe it's running on some kind of autopilot, maybe it's a drone sent to keep an eye on us.
"Nightwatch" is another in my series of smaller paintings of spaceships and clouds that will possibly be heading for IX in October. In a way I'm not painting these as Science Fiction but more like this could be happening right now in the skies above.
It's based around a green/blue - red/orange complementary using muted mixes of Prussian Blue, Ultramarine Blue, Ultramarine Violet, Permanent Orange, Pale Violet, Permanent Sap Green, Burnt Sienna, Lemon Yellow, Zinc White and Warm White - all Michael Harding paints.
Oil on linen 16" 12". 
There is a step-by-step progress through this painting in previous posts on this blog.

Friday, 3 May 2019

Nightwatch - stage 4

Pretty much finished the landscape and clouds and have now made a start on the spacecraft. I plan to keep the spaceship dark and rusting in places so this will do for today's session and I'ii hopefully finish the spaceship and indeed the painting tomorrow. The colours used in the spacecraft are mixes of Prussian Blue, Ultramarine Blue, Permanent Orange and a bit of Zinc White.
Incidentally this painting can be looked at from any side, I conceived it this way round but it can be upright or turned 180 degrees...

Wednesday, 1 May 2019

Nightwatch - stage 3

The first colour pass on the landscape of "Nightwatch" was roughly painted on using a mix of Ultramarine Violet, Prussian Blue, Pale Violet, Permanent Sap Green and Transparent Red Oxide (to tone down the saturation). I then erased the street lights etc with a small bristle brush tipped in clean turpentine. This gives a soft focus effect and I will try and maintain this so that when it comes to painting the spaceship I will keep that relatively sharp so that you get a good sense of distance between the ship and the landscape. I want the setting to be late dusk so that it is not too dark.

Artists & Illustrators Magazine

My latest article for Artists & Illustrators magazine has just been published in the June 2019 issue. Titled "Finding Your Style" it is based around my series of small paintings that I did a few months ago when I was trying things out before I took on the IX 2019 Commission. Whilst I was essentially just tweaking aspects of how I go about painting things, especially skies and clouds, I have written the article from the point of view of more of an amateur painter looking  to give their work an individual style as this is the main readership of the magazine. 
Ironically later on after I had finished the series of 18 paintings I realised that quite a lot of my conclusions about moving my work forward I had already reached a decade ago and had kind of forgotten when I moved the focus of my work towards Imaginative Realism - this is not mentioned in the article!
I have another article to write for the magazine in a few months time titled "Combine Shapes. Lose Edges!". This will be a step-by-step painting demo of the things I had learnt from the earlier series of small paintings specifically about the design and feel of my paintings that I was looking for.




Tuesday, 30 April 2019

Nightwatch - stages 1 & 2

Stage 1
Following on from the last painting here is another in my series of smaller pictures of alien spaceships over Earth, "Nightwatch". I like the idea of these craft being rusty as though they have been in space for a long long time with this one quietly flying over a town at night. "Nightwatch" will be based around a blue/orange complementary with the brightest part of the picture being the lights below. I have very quickly painted in indications of lights and roads in stage 2 which I will use as a guide and won't be meticulously painting it all in as it appears here.
Stage 1 was "drawn" up with a small bristle brush in the morning session using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.
Stage 2 was painted in the later afternoon session when the lines had pretty much dried in stage 1 and used the same paint mixture but applied first with a rag and then the landscape details picked out by erasing lines etc with a small bristle brush dipped in clean turpentine.

Stage 2

Long Way From Home

The next painting in my series of smaller paintings of alien spacecraft over Earth is "Long Way From Home". The idea of the rusting spaceship follows on from the last painting but I decided to get closer to the ship so that the rust is more apparent. I chose a red/orange - green/blue colour complementary for this one so that the rusty colours are emphasised.
I like the idea of the spacecraft has been in space and maybe other planets for so long that the surfaces are starting to rust in some way. Maybe all the occupants are long dead and is just flying on autopilot or maybe it's a kind of drone ship. In a way these paintings are not Science Fiction as I am painting them as if they are arriving here at this time for real, the spaceships hovering in the sky above us while we carry on with our little lives below.
Another painting that could possibly be heading for IX in October.
Oil on linen 16" x 12"
There is a short step-by-step progress through this painting in previous posts on this blog.

Sunday, 28 April 2019

Long Way From Home - stage 4

Actually it's stage 5 really as I forgot to post the progress of yesterday's work...
So now I have pretty much got all the clouds painted although I want to take out a bit of the violet in the middle distance clouds tomorrow. I have also painted in the landscape at bottom left bar a slight addition of some haze which I will also do tomorrow and have also made a start on the rusting spaceship. Already planning the next one, a night scene...

Friday, 26 April 2019

Long Way From Home - stage 3

Painted in the first colour pass on the background sky using mixes of Phthalocyanine Blue, Winsor Green, Lemon Yellow, Permanent Orange and Zinc White. Theses are the green/blues that will complement the orange/reds of the rusting spaceship.

Twilight Visitors

Another in my series of alien spacecraft in our skies, the underlying theme being that sooner or later (or indeed has already happened) the Earth will be visited by beings from another planet whether in a spacecraft or by other means, well who knows...whatever they arrive in they may well decide to steer clear of a human race hell bent on it's own destruction and decide just to observe us maybe. 
Anyway I am painting this series as though these spacecraft are arriving on our beautiful Earth for real so in a way these aren't Science Fiction paintings! Below them is a landscape of cities, towns, farmed fields as we all go about our little lives unaware of what is arriving above us. This painting, "Twilight Visitors" has a spaceship floating in a twilight sky above a small coastline port, it's shape vaguely mimicking the shapes of the clouds so that they aren't immediately visible in a passing glance of the sky by an inhabitant below. 
As a subtext to this series I am not having any lights on in the spacecraft as a possible suggestion that there is no being alive on them after such a long voyage and the ship is just operating on some sort of autopilot. 
As I was painting the spaceship the warm underpainting was showing through and looked like rust which I have kept on this painting and has given me the idea for the next, "Long Way From Home".
This is a painting possibly heading for IX in October.
Oil on linen 16" x 12".
There is a step-by-step progress through this picture in previous posts on this blog.

Thursday, 25 April 2019

Long Way From Home - stages 1 & 2

Stage 1
While "Twilight Visitors" is drying I have got on wth the next one, "Long Way From Home". The idea of the rusting spaceship came from the last picture and have decided to come nearer to the ship this time so that the rusting surfaces are clearer. The title refers to the spaceship having been in space for a very long time and bears the scars of space travel. Like all my spacecraft there are no lights inside as I like to think that they are possibly lifeless hulks, their crew having died a long time ago. 
I have chosen a red/orange - green/blue colour complementary as I want to emphasise the rust colours.
Stage 1 was "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.
Stage 2 is the tonal underpainting in which I have used the same paint mix but applied with a rag.

Stage 2