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, 4 March 2021

The Vampire of San Antonio - stage 3


 The second colour pass and we're getting to what it should finally look like. I have tried to get it ready to finish tomorrow although I have a decision to make about the small shrine on the wall just behind the vampire (who will less prominent when the picture is finished) as I am thinking about painting it out to draw less attention to the vampire. The trouble is the title of the painting hangs on the shrine as it is dedicated to San Antonio.

Wednesday, 3 March 2021

The Vampire of San Antonio - stages 1 & 2

Stage 1

 This one is a combination of two themes, the Magic Light series and the Vampires of Venice series as well. Again it will be a dominant light source as in the Magic Light series but this time it is there to distract from the Vampire at bottom left - he will be more hidden in the final painting. Instead of using the monochrome look of earlier Vampire pictures I will be painting this in subdued tones of an analgous colour combination based around red but will incorporate the colours next to it as well, so red to violet one way and red to orange/yellow on the other. 

Seeing as it is the right size I may well consider this for my upcoming slot on Every Day Original near the end of this month.

The first stage is the tonal underpainting that used a mix of Burnt Sienna and Winsor Violet thinned with Liquin and mostly applied with a small bristle and a 1/2" Acrylix Flat brushes.

The second stage is a rough first colour pass which used mixes of the following colours: Winsor Violet, Ultramarine Violet, Permanent Sap Green, Alizarin Crimson, Brilliant Pink, Burnt Sienna, Permanent Orange, Naples Yellow, Lemon Yellow and Zinc White.

Oil on mdf 12" x 12".

Stage 2


Tuesday, 2 March 2021

Mesa Light


 The fifth in the Magic Light series this is another with a mysterious light source within a landscape, this time The Arches National Park in Utah. Based on a blue/orange complementary with the colours kept subdued apart from the sky which I guess is a nod to Maxfield Parrish who himself did a series of paintings of the American South West whilst recuperating from an illness.  I like this Magic Light theme and I can see that there is quite a lot of scope within this simple idea of an exaggerated or unusual light source in different settings.


Oil on mdf 12" x 12".

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

Friday, 26 February 2021

Mesa Light - stage 3


 First colour pass which I actually applied quite roughly so as to get in quickly something of how I intend it to look. Basing it on a red/orange - green/blue complementary.

Colours used were: Phthalocyanine Green, Emerald Green, Prussian Blue, Permanent Sap Green, Ultramarine Violet, Winsor Violet, Burnt Sienna, Permanent Orange, Lemon Yellow and Zinc White.

Budleigh


 I was about to start a Desert South West painting in my Magic Light series (what became the current Mesa Light) when I got distracted and ended up doing this one of Budleigh Salterton in Devon. It is quite a distinctive landscape and this tidal pool was a tempting way of playing with a light in the sky which could be moonlight but...

I like this Magic Light series as it's a subtle moving on in what I've been doing for years in terms of playing with light sources and makes use of my tendency to incorporate a Fantasy element into most of what I do but hopefully in this series it is held back to just a suggestion so won't put off the more "Fine Art"element of the market. I have noticed a number of painters in the USA that tap into this so hopefully the groundwork is already done for US collectors to buy this kind of landscape art. As for the UK I have no idea...

Oil on mdf 12" x 12".

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

Thursday, 25 February 2021

Mesa Light - stage 2


 The tonal underpainting is finished and ready for the colour to go on tomorrow. Same colours as yesterday. You can now see where the light is going to be.

Wednesday, 24 February 2021

Mesa Light - stage 1


 This was the painting I was going to do after "The Hillsboro Light" but somehow I got distracted and painted "Budleigh" instead. Set in the Arches National Park in Utah this will continue the theme of a mysterious light within a landscape and is therefore the fifth in the Magic Light series. This is just the "drawing" up stage wherein I have used a small bristle brush to "draw" in the basic shapes of the landscape using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.

Oil on mdf 12" x 12".

Tuesday, 23 February 2021

Budleigh - stage 2


 The first colour pass, I was tempted to try and do the water in one fell swoop but in the end I didn't see the point of rushing it. I intend to paint the water with relatively thick paint dabs so it's useful to get the placement right first with some general colour and tone. The water colours are a bit too saturated at the moment.

Colours used were: Phthalocyanine Turquoise, Permanent Orange, Lemon Yellow and Zinc White.

Monday, 22 February 2021

Budleigh - stage 1


 I was about to start another "Magic Light" painting of the American South West Desert and was suddenly distracted and then attracted to doing one of Budleigh Salterton in Devon UK instead. This will be a moonlit scene in which the moon will be a bit brighter than usual - is it the moon or something else that is reflected in the tidal pool? Desert South West next... probably.

Oil on mdf 12" x 12". 

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.

The Hillsboro Light


 The third in my "Magic Light" series I have moved to an urban setting for this one, strange things going on in Anywheresville USA. In all of this series I am leaving it up to the viewer as to what they think could be going on in each picture although this one has an obvious conclusion. It happens in the forecourt of an unremarkable pawn shop in Hillsboro Texas and wanted a mix of quite a dynamic composition with lots of diagonals combined with a still atmosphere, the hush of the light at dusk. The first three of this series are all using a similar colour palette so I need to move away from the yellow/violet complementary for the next one...

Oil on mdf 12" x 12".

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

Sunday, 21 February 2021

Royal Society of British Artists.

 

General Store

I was very surprised to hear that all three of my entries to the Royal Society of British Artists annual exhibition at the Mall Galleries in London have been accepted. After quite a few years of entering competitions for various societies at the  Federation of British Artists and getting nothing in this came as a nice surprise. They are quite different to one another and some people might be surprised they are by the same artist. No dates have been announced yet for the exhibition as I believe that the gallery is waiting to see the much-vaunted "Road Map" to the gradual easing of lockdown to be announced tomorrow by Boris. Hopefully they will be open in some form by March/April/May! I have to get them to the Galleries in late March...

 

Madurai

Pier



Saturday, 20 February 2021

The Hillsboro Light - stage 3


 Pretty much worked over all of it to get it ready for finishing tomorrow. I wanted to get the lettering in so that it can be dry for me to distress plus any tweaks on other bits including putting in the telephone poles and wiring.

Friday, 19 February 2021

The Hillsboro Light - stage 2

 


The first colour pass, I decided to base it around a loose yellow/violet colour complementary with a bit of yellow green and red thrown in. Trying again to keep the colours fairly desaturated and the brushwork on the painterly side.

Colours used: Manganese Blue Hue, Ultramarine Violet, Bright Green Lake, Chrome Green Deep, Permanent Orange, Burnt Sienna, Yellow Lake Deep, Lemon Yellow and Zinc White.

Thursday, 18 February 2021

The Hillsboro Light - stage 1

 


Carrying on with the "Magic Light" series, I am now moving to an urban situation, Anywheresville where a mysterious light is shining down on an unremarkable forecourt of a run down Pawn Shop in a run down side of town in Texas, Hillsboro. I am setting it at dusk again and want a quiet deserted atmosphere; where is everybody? Is this an alien light? Of course I'm leaving it up to the viewer as to what is going on....

This is the tonal underpainting stage using a mix of Burnt Sienna and Winsor Violet thinned with Liquina and applied with a rag and a couple of brushes.

Oil on mdf 12" x 12".

Dusk Encounter

 


The second in what seems to be a new series of paintings going under the title of "Magic Light" in which I hope to create a sense of mystery by having a strange light source within relatively ordinary landscapes and urban scenes. There is an implied narrative but I want the viewer to make up their own mind as to what is happening in the picture by hopefully giving them a sense of ambiguity; is something wonderful going on? Is something weird going on? Is something sinister going on? I might use the title to heighten the mystery too, in this case ... what kind of encounter? What I don't want to do is stray too far into Fantasy painting with these, I will need to curb my tendencies in that direction...

Oil on mdf 12" x 12".

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

Tuesday, 16 February 2021

Dusk Encounter - stage 2


 First colour pass, not quite sure how misty to make it so I stopped here for today and will have another look at it tomorrow morning over my breakfast coffee.

Colours used were: Transparent Red Oxide, Burnt Sienna, Ultramarine Violet, Ultramarine Blue, Kings Blue Light, Permanent Orange, Bright Green Lake and Zinc White.

Monday, 15 February 2021

Dusk Encounter - stage 1


 A tentative title for the second in a new series of paintings called "Magic Light". The ambiguous light in "Crepuscolo San Polo" has gave me the idea for this new series wherein I hope to transform a relatively ordinary landscape or urban scene into something more mysterious by having an unusual light source within it. 

This is the tonal underpainting stage for which I used a mix of Burnt Sienna, Transparent Yellow Oxide and Winsor Violet thinned with Liquin using a small bristle brush and a rag.

Oil on mdf 12" x 12".

Crepuscolo San Polo


 About halfway through this painting I noticed a theme that I could develop into a series so this is probably the last of these trial paintings. I liked the ambiguity of the light at the end of the passageway, was it bright sunlight streaming through the buildings, was it a very bright streetlight (unlikely all Venetian lights are quite subdued) or was something else going on up there? Something magical, something sinister? I realised that I could maybe extend my Venetian Vampires series in this direction but more importantly this could form a new series that I am probably going to call "Magic Light" in that I can try this out in landscapes as well as urban situations - a mysterious light source in an otherwise relatively conventional setting. If it can look kind of magical without going too much in a Fantasy direction that would be great.

This was originally going to be about light, design and atmosphere using thicker paint on the square format that I am returning too (and indeed painting on board again) but fortunately kind of by accident I may have stumbled on a theme that I can develop.... without trying new things out I probably would never have got here.

Oil on mdf 12" x 12".

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

Friday, 12 February 2021

Crepuscolo San Polo - stage 3


 Gradually working around the painting, leaving the alleyway and water until last. I quite like the pale yellow of the lit alleyway, it's kind of vague as to whether it's bright sunlight or a light in the evening - I might go with that, it looks like there is something magical going on up there...

Thursday, 11 February 2021

Crepuscolo San Polo - stage 2


 First colour pass trying to keep the colours subtle, based around a Yellow - Violet colour complementary. Colours used were: Ultramarine Violet, Winsor Violet, Manganese Violet, Emerald Green, Burnt Sienna, Permanent Orange, Lemon Yellow and Zinc White.

Naomi Gold

 


Well this painting didn't go the way I intended at the start! I was planning to do a low-saturation limited palette painting with looser more expressive brushmarks... ha!  I think the problem was I didn't choose the right subject, as I progressed through the painting it became obvious that this would not suit a portrait of a beautiful smooth-skinned woman, it was much more suited to a craggy male so at some point soon I will have another go at it with a male subject. A self portrait?

This is a second attempt at painting a picture with this title, the first one I aborted a few years ago as it looked so terrible. I don't mind how it's come out if I forget what I actually set out to do, it looks a bit more painterly than normal but.. 

The model is the lovely Naomi Wood who I paint a lot as I have so many great shots of her to work from, maybe when this pandemic is over I will get her to my studio and paint from life for a change... I quite like the background which was achieved by pushing transparent paint around so I guess I've learned something from this one!

Oil on mdf 12" x 12".

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

Wednesday, 10 February 2021

Crepusculo San Polo - stage 1

 


While I wait for "Naomi Gold" to dry I am getting on with this, a Venetian painting set at dusk with a light at the end of the passage (sotoportego). This one will be about thicker paint and texture, I might even use the palette knife on some areas.

This is the tonal underpainting stage using a mix of Burnt Sienna and Winsor Violet thinned with Liquin.

Oil on mdf 12" x 12".

Tuesday, 9 February 2021

Chefchaoen Bleu

 


"Chefchaoen Bleu" has just sold through Asgard Arts. One of a series of four paintings of walls based on a single colour, in this case blue. Chefchaoen is a village in Morocco where most of the buildings are painted a beautiful blue, another famous village like this is Sidi Bou Said in Tunisia. Unusually I used a palette knife for these wall paintings as it seemed a good way to render the.... render.

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

Monday, 8 February 2021

Ayasofya


 My recent painting "Ayasofya" has just been bought by the same person that bought a previous Istanbul painting "Cold Constantinople"

I was trying something Tonalist with Ayasofya basing it around a blue/green - red/orange colour complementary. In the background is the Byzantine Hagia Sophia Church that was made into a Mosque after the Ottoman conquest. It remained a mosque until Ataturk ruled over Turkey when it became a museum but has recently been returned to functioning as a mosque.

Oil on linen 22" x 16".

There is a short progress through this painting in earlier posts on this blog.

Cold Constantinople


Friday, 5 February 2021

Naomi Gold - stage 3


 More of the same today, trying to resist the temptation to smooth it all out. Worried about the colour in the background at the bottom - will have a think about it in the cold light of another day and see if I can think of something. or of course leave it alone...

Thursday, 4 February 2021

Naomi Gold - stage 2


 First colour pass over the whole painting. I decided to paint glazes of Transparent Oxide Red and Transparent Oxide Gold over the background which has produced an effect I like but has thrown my plans of keeping the whole picture in a limited palette out of the window. The picture will be now more saturated than I intended so maybe I'll do that on the next one! The plan was warm shadows and cool highlights which I have kind of stuck to but calling it "Naomi Gold" made me veer to having gold in the painting (the original plan was that just referred to the light hitting the jewelry but...) but essentially the figure has been painted with the limited palette in mind.

Colours used were: Manganese Violet, Winsor Violet, Ultramarine Violet, Burnt Sienna, Genuine Chinese Vermillion, Permanent Orange, Naples Yellow and Zinc White.

Wednesday, 3 February 2021

Naomi Gold - stage 1


 Actually really the second stage because I forgot to photograph stage 1 the tonal underpainting so this is that stage plus a bit of colour put into the background. I intend to paint this more like how I painted "Madurai" recently, in a more painterly way as opposed to my penchant for painting figures too smooth and tight so I intend to resist every temptation to play safe and push myself to take more risks on this one. I want the lightest parts of the painting to be the light hitting the necklace, earrings and nose ring and intend to use a limited palette probably based on the yellow/violet colour complementary, trying to keep it looser and more painterly....

The model again is the lovely Naomi Wood, the photo from a session of a few years ago for an aborted painting called "Naomi Gold", hopefully I make a better job of it than the last one!

Oil on mdf 12" x 12".

Naomi Red


 I decided to call this "Naomi Red" as I am just about to start a companion painting called "Naomi Gold"- a title I used on an abandoned picture from a few years ago. I love red in paintings particularly in figurative ones and have usually struggled with it whenever I do one but I thought that I would give it another try. I am currently exploring the possibilities of parts of a picture fading into a colour or tone and thought that I would try it on a figurative piece (something I rarely paint these days). I wasn't quite sure how I was going to do it on this one and I just decided to wing it and see what I came up with - I quite like it but as ever still basically dissatisfied with the end result. it's OK...

The lovely Naomi Wood is the model (as usual!) and is based on a photograph I took of her some years ago. I always intended the darkest part of the picture to be her eye but shied away from using a cold pale violet mix for the highlights and went for a cool yellow instead; with the predominance of red the basic palette is pretty hot so the concept of cool is relative hence a pale yellow mix being used for the highlights in the end.

Oil on mdf 12" x 12".

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

Sunday, 31 January 2021

Naomi - stage 3


 The time has now come as to how the hair is going to fade into colour, something that I wasn't sure when I had the idea, but the whole point of these trial paintings is seeing what I come up with so I'm just winging it. I stopped here as I quite like the transparent paint in the hair and need to look at it again tomorrow morning over breakfast coffee and see where I want to take it.

Tideline


 The general direction these trial painting are heading in is areas fading into colour, originally envisaged as fading to a side like this one where the colour fade is at the top. I have since realised that this is quite limiting and will only work with a certain composition (for which I have a couple of things to try out with a landscape... probably coming up after "Naomi" is finished). I don't think it particularly works on this, the idea to base it around a blue/green - red/orange complementary was all very well but....  The good thing is that I've only spent a few days on this so I can move on without wasting much time on it.

Oil on mdf 12" x 12". 

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

Saturday, 30 January 2021

Naomi - stage 2


 Still waiting for "Tideline" to dry so getting on with "Naomi". I gave the background another glaze of Alizarin Crimson to deepen the colour and the started work on the face and hair. The plan is cold highlights and warm shadows but that is all relative when working with such a hot palette so I've stopped here and will have a look at it over tomorrow morning's breakfast coffee and see where I need to go. 

Colours used were: Alizarin Crimson, Burnt Sienna, Permanent Orange, Manganese Violet, Naples Yellow, Cadmium Yellow Light, Lead Tin Yellow Lemon, Zinc White and Warm White.

Friday, 29 January 2021

Naomi - stage 1


 While "Tideline" is drying I have got on with another trial painting a rare figurative one of the lovely Naomi Wood. I love red in paintings particularly portraits/figurative pictures but whenever I have tried to use it I have always struggled and ended up with a disappointing painting. Here I go again let's see how this one turns out, the plan is the darkest part of the picture will be the eye with Naomi's red/orange hair fading into red on the right side.I intend to have warm shadows that merge a bit with the background and colder very pale violets for the highlights....

This is the first colour pass over the underpainting which as always was a mix of Burnt Sienna and Winsor Violet, the initial texture achieved with a palette knife. I have then painted a transparent glaze of Alizarin Crimson over the background texture.

Oil on mdf 12" x 12".

Thursday, 28 January 2021

Tideline - stage 1

 


Actually I seem to have missed getting a photo of the tonal underpainting so the first post is this one where I have painted in the sand and pebbles. The idea is that a green/blue is going to come in from the top and gradually emerge out of the top fade into water lapping against the beach, all based around a blue/green-orange/red colour complementary. The colour in the foreground is quite saturated so I will need to desaturate the green/blue otherwise it will be too colourful.

Colours used so far: Burnt Sienna, Winsor Violet, Ultramarine Violet, Permanent Orange, Naples Yellow, Lemon Yellow, Cadmium Yellow Light, Yellow Lake Deep and Warm White.

Oil on mdf 12" x 12".

Haven

 


Another painting of my favourite location, Cuckmere Haven in East Sussex in which I try fading a side of the painting into colour, in this case the bottom, although in the end I decided to keep a bit of definition to the riverbanks. It was originally conceived to be dark at the bottom but I changed my mind and had it lighter in the foreground than the background.

The original inspiration for this came from one of my first oil paintings back in 2004 called "Dawn Rain Mae Hong Song" in which the painting fades down to a colour at the bottom, something I wasn't planning but it just seemed right to leave it like that at the time. I have always liked that look but had no real idea as to how to use it until some of these recent trial paintings have been veering this way so I thought that I would try and develop this idea and see if anything comes out of it.

Oil on mdf 12" x 12". 

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

Dawn Rain Mae Hong Song

 

Tuesday, 26 January 2021

Haven - stage 2


 I was going to have a single colour across the bottom of the picture but decided to keep the shape of the riverbanks and have the edges blurry and the values of the two colours very similar. I will look at it tomorrow morning and see what tweaks I need to make before it is finished. The next one I'm planning is quite different...

Monday, 25 January 2021

Infected By Art 8


 I have just received my copy of Infected By Art 8 which has my painting "Long Way From Home" included. Considering most of the book is taken up with Fantasy art this is one of the few Science Fiction pieces and is quite ironic in that I very rarely paint Science Fiction myself and it is something like eighteen years since my last apart from this little series of alien spaceships in our skies that I did a couple of years ago.

Haven - stage 1

 


A return to my favourite landscape at Cuckmere Haven for another attempt at doing something nice with this location. This one was actually conceived as dark in the foreground and lighter in the distance but looking at this first colour pass over the underpainting I can see that it would be more interesting the other way round. 

The original inspiration for this came from one of my first oil paintings back in 2004 called "Dawn Rain, Mae Hong Song" in which the painting fades into a colour at the bottom, something I wasn't planning but it just felt right to leave it like that at the time. I have often since thought about that effect and a couple of the recent trial paintings have had suggestions of this happening again so I think it's time to try a few variations on this in earnest now. The plan with "Haven" is now to be darker in the distance with the painting fading into a beautiful blue/violet towards the bottom.

Colours used so far: Prussian Blue, Ultramarine Violet, Permanent Orange, Burnt Sienna, Lemon Yellow and Zinc White.

Oil on mdf 12" x 12".



Tate Birches

 


As I carry on with this series of trial pictures I think that I will continue with painting on square format board. This one was about concentrating on design and colour and wanted it not to have much depth so that it becomes more of a pattern. As usual there are aspects of this painting I don't like but I'm not going to worry about that as the paintings are small and only take a few days to paint so I am not wasting much time on the failures. I wonder what is going to come out of these paintings that is going to be incorporated in my main work?

This picture is of the birch trees outside the Tate Modern Gallery in London at dusk. Details on what colours I used can be found in previous posts on this blog.

Oil on mdf 12" x 12".

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.