Scarp Slope, Ditchling Beacon - Acrylic on canvas

 

I have always had a deep interest in the 'layering' of landscape; the contrast between the wilds of nature and human intervention through agriculture, settlement and trade. It has been a recurring theme in my work for many years. Even back during my art school days in East London, I was fascinated by nature's reclamation of large areas of dockland (it seems that Westfield is winning that battle now though!) This relationship between human activity and nature is clearly seen from the top of Ditchling Beacon, where views over the Weald of Sussex are just glorious.

 

My method follows a similar approach, layering and washing out areas of the canvas and I aim always to find contrasts in mark making. I am ready too to obscure already successful parts of the painting in order to push the final piece. I am never precious! I ensure too that colour is woven throughout the surface, encouraging the eye to travel along the chalk path.

 

Finally the image is not great, my main camera is not playing ball at the moment and needs to go off for a little break to the camera shop...

Cockerel - pastel demo

I demonstrated pastels to the lovely Crowborough Art Group yesterday and this is the result. I have to say that I couldn't resist tinkering with it a bit at home, adjusting the tail feathers and working on the background.

I used my favourite Fisher 400 paper to convey just how flexible pastels can be; scraping in details, adding water to the surface and layering colour. I use Unison pastels in the main. I love the balance of fine pigment and find that they are fairly robust. I do love Sennelier too, but although the buttery softness is very seductive, I do look back at what is in my hand and find most of it has turned to dust. I reserve these for blending on a softer surface. I do add a little conte pastel just here and there when a bold narrow line is required (around the bird's eye for example).

 

Note the detail in the cockerel's eye. Here I used conte pencils in pinks, red, burnt sienna and a dot of black for his pupil. I used a shard of white Unison for the highlight.

 

Scraping

 

I do find the best way to achieve a sharp, thin line is to use some sort of tool to scrap away pastel. Anything will do, a stick, the end of a brush, a feather, an unfurled paperclip ... even my broken off piece of aerial. Do not use anything too sharp though, scalpels for example may cut the paper, certainly you and could break off under pressure.

 

This technique often needs a little planning. Look carefully at the subject and decide on the colour required for the line. Apply this colour to the Fisher 400 and rub in well. Next work over with the surrounding colour and scrape away. see the tail feathers below.

 

 

Keys ~ Paris Flea Market

I have been itching to do this watercolour.

I used a reduced palette of Madder Brown, French ultramarine, Alizarin Crimson, Cerulean Blue, Yellow Ochre and a bit of Sepia. I put granulation medium in a small spary and applied it to semi-dry areas, just to disturb the surface.

 

 

Ashdown Forest in the Snow

I have just been enjoying working on this loose watercolour of the Ashdown Forest. 

We ventured up there this weekend and when I wasn't face down in the snow, I managed a very brief sketch and a couple of camera shots. I love the heavy mauve sky that you often get with snowfall and noticed the most intense ochre grasses peeking through the drifts, which provided the perfect contrast. 

I have kept a simple palette of ultramarine violet, yellow ochre (mixed to obtain a heavy sky) and then together with these pigments, introduced some alizarin crimson, French ultramarine, sepia and some dots of light red. I have also used granulation medium here, delivered via a small pump spray... just to vaguely disturb the surface. I find these little sprays such a useful tool for watercolour. They are available at chemists and are really intended for decanting your favourite bathroom products ready for holiday, but no, for me granulation medium or just plain water is the  way to go!

I bit of controlled splattering, as ever, to evoke a blizzard, but also it carries the colour over the surface of the painting, encouraging a sense of movement and immediacy. 

Ashdown Forest in the Snow II

The Clock Tower ~ Brighton (pen and wash)

I love the lights that are suspended from Brighton's Clock Tower - they just had to be painted!

Here is a detail of the sky and the many threads of lights that festoon the tower. I used masking fluid to maintain the whiteness of the bulbs and used a deep ultramarine blue sky to through out as much contrast as possible. 

Apples - Acrylic on canvas 50cm x 50cm

Here is a canvas that I have been working on up to Christmas. It needs a little more consideration here and there, but it is nearly done.

I haven't been producing many larger scale acrylics recently, as it is absolutely freezing in my studio. Smaller works and watercolours are therefore my Winter preference!

The Picture House Uckfield ~ pen and wash

I wanted to evoke a sense of excitement and anticipation with this pen and wash. I chose therefore to depict the Picture House at night, as the entrance glows into the dark street and looks so enticing.

Prints and cards will be available soon.

Uckfield is so fortunate to have this wonderful independent cinema. See their website for more details; http://www.picturehouseuckfield.com/