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, 18 September 2020

Pier - stage 1


 OK finally hoping to do something Tonalist without being distracted by other ideas along the way. It should be a pretty moody painting of Brighton's Palace Pier from the beach but as in proper Tonalism it's the mood and lighting that is important not the subject so I am painting it with the focus on the sky not on the kiosk or pier.

This is the tonal underpainting stage with a mix of Burnt Sienna and Winsor Violet thinned with Liquin and applied with a small bristle brush and rag.

Oil on linen 20" x 16".

Wednesday, 16 September 2020

Cuckmere Shadow

 


Although this was meant to be a Tonalist painting, because I became intent on trying to get the landscape in sunlight to glow against the shadow it took it away from being a Tonalist painting... maybe the next one will be! Compositionally I tried to have three distinct bands of colour not being broken up with a foreground tree as I usually do, the placement of the clouds at left being the result of the original tonal underpainting wash-in when this was the last bit to go in and I decided I that I liked the placement of the light area as it was. 

This is a favourite landscape of mine, the Cuckmere Valley about half an hour from where I live.

Oil on linen 20" x 16".

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

Monday, 14 September 2020

It's Nice To Get Out sold


 An older painting from when I was painting my local seafront in Brighton has just been sold through Asgard Arts. I was fond of ironic titles in those days as a couple walking their dog struggle against the wind while a storm approaches. Bracing they used to call it.

Sunday, 13 September 2020

Cuckmere Shadow - stage 3


 Spent the day just feeling my way along with the colours; I kind of know what I want but not totally sure how to achieve it! I have left the Tonalism idea and concentrated on trying to get the sunlit landscape to glow against the foreground shadow.

Using the same colours as yesterday.

Saturday, 12 September 2020

Cuckmere Shadow - stage 2


 This is the correct title btw.... OK this is the first colour pass which is giving me a good idea about which colours do and don't work.

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

Thursday, 10 September 2020

Cuckmere Shadows - stage 1


 This might well be the first of two versions of this view of the Cuckmere Valley from High and Over in East Sussex. I am continuing with the Tonalist theme for a while with this and possibly the next one both being more obviously tonal than previous ones over the years. This one is planned to be relatively light, probably based around a red/orange - green/blue complementary and the next one darker. We will see, my plans often change over my breakfast coffee...

This is the tonal underpainting stage using a mix of Burnt Sienna and Winsor Violet thinned with Liquin and applied with a small bristle brush and a rag.

Oil on linen 20" v 16".

Monday, 7 September 2020

Ayasofya


 I am using the Turkish spelling for the Hagia Sophia church/museum/mosque in Istanbul. I am leaving the foliage for a while as I regroup and hopefully come back to it with results nearer what I was looking for. I felt I needed something that was within my comfort zone as it were and decided to do a Tonalist/Orientalist (!) painting based on a simple colour complementary, in this case red orange/green blue. I wanted it soft, dark and moody and tried to keep detail to a relative minimum such as keeping the mosque to a silhouette not too distinct from the background sky. I quite enjoyed painting this so I am planning another Tonalist picture this time based around red, at least that is the plan.

Oil on linen 22" x 16".

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

Friday, 4 September 2020

Ayasofya - stage 4


 I have no idea why the last post ended up as the old format Blogger, let's see what happens with this one.

OK so have now painted the first colour pass over the whole picture and now we have a much better look at where I intend this painting to go, soft, moody and Tonalist. There will be much less of the orange in the foreground unless that is I change my mind over tomorrow morning's breakfast coffee.... but I don't think so. Hoping to keep a painterly feel that the sky has for the rest of it.

Colours used were the same as yesterday.

Thursday, 3 September 2020

Ayasofya - stages 2 & 3


 Please note I am now using the Turkish spelling for the Hagia Sophia Mosque in Istanbul. 

Stage 2 was a second pass on the tonal underpainting in this morning's session to give me a better idea of what I'm intending to do with this one. I used the same paint mix as yesterday.

Stage 3 was the first colour pass on the sky in this afternoon's session. As you can now see this will be a tonalist night painting and I'm hoping to keep the colours subtle, in fact I was surprised when adding Ultramarine Violet helped to tone down the sky which was looking too colourful. I might decide to kill the saturation a bit more, I will decide over my breakfast coffee tomorrow morning. Colours used were: Prussian Blue, Ultramarine Violet, Phthalocyanine Turquoise, Emerald Green, Permanent Orange, Lead Tin Yellow Lemon, Naples Yellow and Zinc White.



Wednesday, 2 September 2020

Agia Sophia - stage 1


 I'm leaving the foliage for a while as they have not gone to plan and need to regroup on that theme. Instead I'm getting on with a Tonalist Orientalist (!) painting of the Agia Sophia Mosque in Istanbul which has been in the news recently when President Erdogan decided it was to revert back to a mosque after having been a museum since the days of Ataturk.

This is kind of a comfort zone after a couple of paintings not working out and am looking forward to getting some colour down on it, maybe tomorrow afternoon. Tonalist and moody is the plan...

This is the first pass on the tonal underpainting using my usual mix of Burnt Sienna and Winsor Violet thinned with Liquin. Oil on linen 22" x 16".

Tuesday, 1 September 2020

Richmond Park


 I lived in Richmond many years ago and often had a walk in the extensive park only ten minutes away from where I lived. This was meant to be another foliage painting trying things out but when I got to the first colour pass stage I got distracted by the way the tree trunks glowed against the subdued blue background. Consequently I went off on that tangent and ended up with a painting way more fantasy than I intended. The painting is OK in one way but it bugs me for it turning out this way. Maybe I have to accept that I naturally paint that way and it's pointless trying to change the way one naturally paints. The fantasy look would be OK if I were selling work easily in that field but I think I am in a no man's land between Fantasy and for want of a better term, "Fine Art" and am neither good enough or well known enough in either to really get anywhere.

Maybe one day I will happen upon the right "formula" and make some headway in one or even both of them. 

Oil on linen 22" x 16".

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

Saturday, 29 August 2020

Richmond Park - stage 3


 Worked on the foreground trees today using the same colours as yesterday. As usual it looks too fantasy, I'm trying to get away from that look but I think it's the colours I have chosen; for a start it's too colourful and it's not really about what I was trying to get better at - foliage etc. The next painting will hopefully be nearer to what I'm after, I need to get much closer to a plant. small tree whatever so that it looks more observed and less generic as this one does. People might like this picture but it isn't really what I was trying to achieve.

Friday, 28 August 2020

Richmond Park - stage 2


 I decided on a red/orange - green/blue colour complementary as whilst roughly painting in the subdued greens in the background I liked the way that the tree trunks glowed against it. After some deliberation I decided to go for the complementary but the next step is to break up the reds of the tree trunks with shadows so that they better integrate into the picture.

Colours used were: Kings Blue Light, Ultramarine Violet, Winsor Violet, Permanent Sap Green, Chrome Green Deep Hue, Emerald Green, Bright Green Lake, Permanent Orange, Burnt Sienna, Yellow Lake Deep, Lead Tin Yellow Lemon, Zinc White and Warm White.

Tuesday, 25 August 2020

Richmond Park - stage 1

 

Continuing with painting more foliage and trees etc for a while this one will be hopefully quite dramatic when I start to get the colour down. I lived in Richmond many years ago and often walked in the extensive Richmond park nearby, in fact sometimes I walked through to Wimbledon Common which you can do once you cross a road, it's pretty much continuous. Planning on thicker paint with a bit more texture than normal... but we'll see, these paintings seem to have a will of their own!

This is the tonal underpainting stage which was first "drawn up" with a small bristle brush using a mix of Burnt Sienna, Transparent Oxide Red and Winsor Violet thinned with Liquin and then the same paint mix was applied with a rag when the "drawing" was dry in the afternoon

Oil on linen 22" x 16"

Autumn Leaves

 Huh, quite prophetic, as I write this in August the weather outside is distinctly Autumnal today as Storm Francis moves through. This was meant to be about brushing up skills on painting trees, foliage etc but as is often the case the painting had it's own plans on where it wanted to go. It did at least get some thicker paint applied and I suppose I did get on with painting branches etc but it has come out a lot more fantasy than I intended, probably through the colours and lighting I used. It reminds me of a Brothers Hildebrandt Lord of the Rings illustration probably because I used the colour theory in the same way.

I like the painting but it didn't go where I intended...

Oil on linen 22" x 16".

There is a short step-by-step progress through this painting in previous posts on this blog.

Saturday, 22 August 2020

Autumn Leaves - stages 1 & 2

 

Following on from the last painting I am brushing up my skills on trees, leaves etc. When I had finished stage 1 I was tempted to paint it my usual way with transparent paint and work it up as a monochrome, safe territory but I ain't gonna learn anything as I was intending to use thicker opaque paint on this one. So I looked at it this morning and decided to go with my original intention and be prepared to f*** it up as otherwise I'm not going to move forward. After all I can always do another as a monochrome if I so wish (I won't).

Stage 1 was "drawn" up with a fairly battered bristle brush using Transparent Oxide Red, Transparent Oxide Yellow and Transparent Oxide Brown all thinned with Liquin.

Stage 2 used mixes of the following colours: Prussian Blue, Winsor Violet, Permanent Orange, Bright Green Lake, Permanent Sap Green, Yellow Lake Deep, Naples Yellow, Cadmium Yellow Light, Lead Tin Yellow Lemon and Zinc White.

Oil on linen 22" x 16".

 

Tuesday, 18 August 2020

Snow on the Sagebrush

 Not every painting turns out OK and this is no exception. I have to remember I was trying something so it was always going to be hit and miss. I think it's neither one thing or the other, I was too timid in a way, trying to combine things that maybe don't go together. In recent paintings I have been managing to get a nice sense of distance which this doesn't have at all and the background mesas don't work against the flat sky. Also, I need to get my painting of bushes etc better, they look too generic and have no sense of something that has been looked at properly and painted accordingly.

So in short I don't like this one. But in a way it's good, I have learnt something that would have happened only if I had tried this out. I know what not to do again as well as realising that I need to brush up my skills in depicting leaves, bushes etc.

Oil on linen 20" x 16".

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

Saturday, 15 August 2020

Snow on the Sagebrush - stage 4

 I have roughed in the snow on the land after pretty much finishing the background mesas. I have also roughed in the sagebrushes and the rock at bottom left.

I am feeling my way around this one, largely because a lot of it is coming from the imagination and am having to try different colours to see how they work before proceeding. I'm leaving it like this so that I can look at it tomorrow morning over my breakfast coffee and see what I have to do next. I might for instance break up the foreground with some branches of a bush to cut across the line where the snow meets the red rock...

Thursday, 13 August 2020

Tierra Grande and Pump sold

 I'm pleased to say that these two recent paintings have been sold to a collector that already has a number of mine on his walls already. Maybe I should do some more dramatic The Big Sky paintings, maybe they are more sellable if they are more dramatic?

Maybe, anyway for the moment I am going to carry on with these smaller paintings as I try some things out.

Both oil on linen 30" x 20".

 

Snow on the Sagebrush - stage 3

 The sky still needs another colour pass before it's finished. While painting the sky I gave the landscape another glaze of tone with lots of Liquin in it so it was ready to paint on this afternoon. I then put in some snow before stopping for the day as I need to look at it tomorrow and see if it's OK or not so there was no point in pressing on any further today. Still using much the same colours but with the addition of opaque Warm White and Lead Tin Yellow Lemon for the snow.

Wednesday, 12 August 2020

Snow on the Sagebrush - stages 1 & 2

 I haven't done a snowscape in ages so I thought it would be a nice change to do one now. I'm not sure which series this belongs in, it's not really a The Big Sky so I guess it's Roadside America. It's located in Arches National Park Utah which in the winter and despite it being in Desert Southwest does get some snowfalls over the winter. This one will be just after it has snowed and the sun is starting to break through the cloud. I will be inventing all the snow....

The first stage is the "drawing" up and tonal underpainting which was done with a small bristle brush and then a rag using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.

The second stage was the first colour pass on the sky and more tone added to the landscape. Colours used were: Prussian Blue, Ultramarine Violet, Permanent Orange, Zinc White and Transparent Red Oxide.


Monday, 10 August 2020

Going Home

 

I am taking a little break away from The Big Sky series as I have enough for the moment and need to address some niggling thoughts about how I need to reintroduce some aspects of how I painted say ten years ago with thicker paint and more lighting effects. So I am going to keep using purely transparent paint for the skies but try and introduce a bit more painterliness into the foreground. This one is only halfway there but it has given me the trigger for the next painting to push things further.

Rush Hour in Anywhereville USA and all the commuters are leaving town at dusk to go back home after work, a blaze of tail light reds as all the cars head home. Inspired by a car journey leaving Washington DC at dusk, this one has a lot more bustle and human activity than usual and as such I will group it with the Roadside America series.

Oil on linen 20" x 16". There is a step-by-step progress through this painting including colours used in previous posts on this blog.

Friday, 7 August 2020

Going Home - stage 3

 I pretty much finished the sky today and then roughed in some colour and tone into the rest of the picture. This really helps me to see how the lighting idea is going to work as I'm hoping to have a blaze of tail lights as though the road is full of commuters all leaving town at rush hour to go home. 

Colours used were: Brilliant Pink, Burnt Sienna, Lead Tin Yellow Lemon, Warm White  and all the colours used for the sky.

Thursday, 6 August 2020

Going Home - stages 1 & 2

I have enough paintings for the moment in my The Big Sky series and have been having some niggling thoughts about the thickness of paint that I have been using and when looking at how I used to paint say ten years ago, I feel that I have lost something even though I have gained many others. So this is the first in a short (?) series of smaller trial paintings, this one being rush hour in Anywhereville USA, a line of cars leaving town to get back home after work, a blaze of red tail lights leading to a dusk sky - so I guess it must be Winter. Unusually for me these days this picture has a lot more bustle and human activity in it, I guess I'll class this one as a painting to go in my Roadside America series.
The tonal underpainting was "drawn" up with a small bristle brush using a mix of Burnt Sienna thinned with Liquin, the same mix being applied later on with a rag for the tone.
The first colour pass on the sky used mixes of the following colours: Indranthene Blue, Permanent Orange, Ultramarine Violet, Lemon Yellow and Zinc White.
Oil on linen 20" x 16".



Friday, 31 July 2020

Tierra Grande

There were at least four of these signs on a road in the middle of nowhere in New Mexico, I presume it is the name of a nearby ranch? This is of course another in my The Big Sky series of paintings, this one again focusing on signs of Man's intervention in a vast natural landscape, a theme I'm warming to. The landscape is principally sagebrush which has quite a specific colour to it which I tried to get across in this picture... which I am not sure if I managed to get..... I'm not sure about this one, probably best to look at it in a couple of weeks time to reassess.
I think I have enough of these for the moment and am feeling the need to have a period of experimentation again, this time in using thicker paint. Although I am comfortable with what I have been doing I have a niggling thought that to be taken seriously in "Fine Art" the Look Du Jour is thick slightly abstracted paint and although I feel an artist has to be true to themselves in how they paint maybe it is worth trying in case it moves the work forward in a genuine way that is still natural to how I go about things... we'll see.
Oil on linen 30" x 20".
There is a step-by-step progress through this painting in previous posts on this blog.

Monday, 27 July 2020

Tierra Grande - stage 6

Painted in the landscape in shadow and quickly roughed the sky shadow colour into the road so that it is dry and ready to work on tomorrow. Once the road is finished I just have the ranch sign and the telegraph poles to put in and it's finished. For this reason I will post no more updates until it's finished when I will post the scan.

Sunday, 26 July 2020

Tierra Grande - stage 5

Pretty much finished the sky and am now working on the landscape which is mainly in shadow apart from the hills in the distance at right. Being a bit tentative at the moment as I am not sure how dark to make it so just putting in some colour so that I have a better idea tomorrow as to how to proceed. Colours used: Permanent Sap Green, Chrome Green Deep, Emerald Green, Ultramarine Violet, Manganese Violet, Pale Violet, Permanent Orange, Burnt Sienna, Naples Yellow, Lemon Yellow, Warm White and Zinc White.

Saturday, 25 July 2020

Tierra Grande - stage 4

Pretty much finished the sky barring a few tweaks tomorrow. Made a start on the sunlit distant landscape at right and darkened the tone of the rest of the landscape that will be in shadow. Need to have a think about what colours to use tomorrow morning, I'm keen to try and get the colours of the sagebrush right but need to consider the best way of achieving it.

Friday, 24 July 2020

Tierra Grande - stage 3

First colour pass on the sky, deciding this morning over my breakfast coffee to just keep the yellow in the light parts of the clouds (not too apparent yet).  Colours used: Ultramarine Blue, Ultramarine Violet, Permanent Orange, Lemon Yellow and Zinc White.

Thursday, 23 July 2020

Tierra Grande - stage 2

Finished the tonal underpainting today using the same paint mix as yesterday and applied with a rag. Tomorrow morning's breakfast coffee time is when final decisions are made on the colours I am going to use...

Wednesday, 22 July 2020

Tierra Grande - stage 1

There were at least four of these signs on a road in the middle of nowhere in New Mexico, I presume it is the name of a ranch. This is of course another in my series The Big Sky and is continuing with my current theme of signs of man's intervention within vast natural landscapes. I quite like the framing device of the sign and am tempted to put something inside that rectangle if I think of something suitable. The landscape is principally sagebrush and hope to get that nice colour that it has across in the painting. At the moment I am thinking of using a lot of dusty yellows but don't need to make my mind up yet until the tonal underpainting for the dramatic sky has gone in.
This is the first part of the tonal underpainting in which it was first "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor Violet (Dioxazine) thinned with Liquin and then some tone was put in with a rag using the same paint mix when the under drawing was dry in the afternoon.
Oil on linen 30" x 20".

Saturday, 18 July 2020

Pump

Another painting in my The Big Sky series again focusing on signs of human intervention in vast lonely landscapes this one revisiting a subject I painted earlier ("Rig"), a lonely oil pump in a vast flat Texan landscape. Maybe I should have titled this one "Run For Your Life!" as I have painted a threatening sky fast approaching, possibly not long before the formation of a Tornado.
I enjoyed painting the sky so I might well do another stormy sky for the next one, we'll see. 
It was important to get the light right for the landscape, I wanted it in shadow but still backlit from behind us where some sun is hitting some white clouds. It was important to make sure that the lightest part of the picture remained the sky behind the clouds at the top and every other tone ran from that. I based the painting around a yellow/violet colour complementary and used The Rule Of Thirds for the basic composition.
Oil on linen 30" x 20".
There is a step-by-step progress through this painting including what colours I used in previous posts on this blog.

Rig

Wednesday, 15 July 2020

Pump - stage 4

I decided that the landscape was too light so I gave it a glaze of Burnt Sienna and Winsor Violet thinned with Liquin and Lukas No 5 Medium this morning so that it was dry enough to work on this afternoon. I then roughed in some more colour so that I have a good foundation for tomorrow when I hope to pretty much finish it. Colours used: Ultramarine Violet, Manganese Violet, Winsor Violet, Permanent Sap Green, Burnt Sienna, Permanent Orange, Brilliant Pink, Naples Yellow, Yellow Lake Deep and Warm Light Yellow.

Tuesday, 14 July 2020

Pump - stage 3

Pretty much finished the sky and have put down some early colour on the landscape. I have since realised that the landscape needs to be darker which I will do tomorrow when the paint is dry.

Sunday, 12 July 2020

Pump - stage 2

This is after the second colour pass for the sky, a couple of hours tomorrow should finish it.
Colours used were: Ultramarine Violet, Manganese Violet, Ultramarine Blue, Phthalocyanine Turquoise, Pale Violet, Permanent Orange, Brilliant Pink, Warm Light Yellow and Zinc White.

Thursday, 9 July 2020

Pump - stage 1

Continuing with the theme of signs of human intervention in vast landscapes I decided to revisit a subject I painted earlier ("Rig") and have another oil pump in a vast flat Texan landscape. I didn't really feel that I had done the subject justice last time so this time it is the pump set against a flat horizon and a stormy threatening sky to try and get across the loneliness of the location. This is of course another painting in my The Big Sky  series.
This is the tonal underpainting stage which was "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor Violet thinned with Liquin and then the tonal underpainting was dome with a rag using the same paint mix.
Oil on linen 30: x 20".

Sunday, 5 July 2020

Mail Box

I like this theme of signs of human intervention within vast often hostile natural landscapes, the South Western States being particularly suited to this theme. This is out in the boondocks of New Mexico with a rusting mail box by the side of the road in the middle of nowhere, a small path leads off at the left to an unseen shack, a bit of the road surface can be seen in the far right corner. These pictures are kind of bittersweet in that it shows the struggle against Nature of people to live in such inhospitable environments made more so by the approaching storm... on the other hand it is kind of a celebration of people being able to do this in the first place.
Originally I had a couple of telegraph poles in the middle of the landscape breaking the horizon but I decided that they distracted you away from the main focus of the picture, the lonely mail box so I painted them out, being able to get away with it compositionally as it is approximately a third of the way in still breaking the horizon.
One more in my The Big Sky series. Oil on linen 30" x 20".
There is a step-by-step progress through this painting including the colours I used in previous posts on this blog.

Thursday, 2 July 2020

Mail Box - stage 5

I decided to paint out the two telegraph poles over my breakfast coffee this morning and then made a start on the landscape. I am being a bit cautious at first as I need to work out what colours to use on the landscape and have just roughed in some colours to see how they look. Colours used were: Permanent Sap Green, Bright Green Lake, Naples Yellow, Yellow Lake Deep, Permanent Orange, Magenta Violet, Ultramarine Violet, Brilliant Pink and Warm Light Yellow.
I am trying to get a nice variation of colours in the landscape as it is much more prominent now that I have deleted the telegraph poles and needs to look interesting.

Wednesday, 1 July 2020

Mail Box - stage 4

The sky is pretty much finished bar some tweaking later on and then I roughed in some more tone on the landscape. I am now debating whether to leave out the telegraph poles that are indeed halfway painted out already. Just having the mail box there by itself emphasises even more the loneliness of it's location, fortunately compositionally it breaks the horizon line too so I could get away with it.
As usual I will decide over tomorrow morning's breakfast coffee...

Tuesday, 30 June 2020

Mail Box - stage 3

Second colour pass on the sky, just need a couple of hours tomorrow to finish it and then I will move on to the landscape. 

Monday, 29 June 2020

Mail Box - stage 2

A funny day yesterday, I just couldn't envisage in my mind what I was going to do with this picture and felt kind of catatonic so thank God I left it alone and resolved to start it today instead. Always a good idea to leave a painting alone if you don't know what you are doing!
 As usual over my breakfast coffee this morning I began to reconnect with what I wanted to do with "Mail Box" in terms of colour and lighting so I was able to get on with the first colour pass on the sky... except that once I had bashed in some colour I liked the orange against the blue and went with that instead! I was originally going to stick to the colours I used in my last painting....
Plenty of work left on the sky to get it right. The colours I used were: Phthalocyanine Turquoise, Ultramarine Blue, Ultramarine Violet, Permanent Orange, Prussian Blue, Warm Light Yellow and Zinc White - all Michael Harding paints.

Saturday, 27 June 2020

Mail Box - stage 1

I'm going back to the theme of signs of human intervention within vast natural landscapes, this one being a mail box by the road in the boondocks of New Mexico. There is a path running from the left to some unknown shack out of the picture at right. These pictures are kind of bittersweet in that somebody is struggling against nature to survive in such an environment somewhat made more threatening by the approaching (?) storm... on the other hand it is kind of a celebration of human beings being able to do this in the first place... another in my The Big Sky series of paintings.
This is the tonal underpainting stage and was first "drawn" up with a small bristle brush using a mix of Burnt Sienna and Winsor Violet thinned with Liquin. Then when it was dry enough the tone was put in with a rag using the same paint mix.
Oil on linen 30" x 20".

Thursday, 25 June 2020

The Great Wall

Another painting located in Arches National Park in Utah where there is this line of mesas and buttes called The Great Wall with a lot of them having these flat green areas on their sides where something (glaciers?) has worn away the sides to look like this. Can't see how it could be wind or water that could have done this...
There have been some fantastic towering cumulus clouds inland from where I live in Southern England recently and these gave me the idea for this picture. I decided to have an area in the distance in sunlight the rest was to be in shadow to emphasise the whiteness of the clouds. 
This is of course another in my The Great Sky series.
Oil on linen 30" x 20"
There is a step-by-step progress through this painting including the colours I used in previous posts on this blog.

Monday, 22 June 2020

The Great Wall - stage 5

Painted the mid ground mesa today. All the mesas and buttes in this area have quite a distinctive feature to them, it looks like Nature has taken a giant sander and neatly sanded away the whole side of the mesa or it looks like something huge and green has neatly rubbed away the side leaving a green colour on all the flattened surface planes. I need to find out how this happened...
Anyway I stopped here today and leaving it alone until tomorrow as I might overpaint it too much and feel I need to proceed with caution so that I get the tones and colours right. So as usual I will have a look at it in the cold light of tomorrow over my breakfast coffee and see if it's OK so far...
New colour being used is Oxide of Chromium in addition to the colour mixes already in use.