Gate House – Time Lapse Painting

Gate House

Gate House

This is a 3 colour painting plus white. The unusual feature here is the sky. It was painted with 2 colours plus white. Burnt Sienna and Prussian Blue produce a range of colours from green to purple depending on the proportions of each colour. The very first ‘wash’ of paint has a definite green look to it and you would be forgiven for thinking that the final lighter shades on the right hand side of the sky has some yellow in there. But no, not a bit. Its Burnt Sienna and the smallest hint of Prussian Blue. Amazingly, its yellowish in the presence of the same mix with more blue in there. Magic!

The yellow I used later on was Raw Sienna. This is very similar to Yellow Ochre but with a more orange tint. It fits in nicely with the shades produced by the Burnt Sienna and very similar to the tints in the sky, mentioned above. It was introduced for the first time in the foliage of the large tree. As you will see, in the accompanying video, this was quite late in the painting process. There was no deliberate attempt to produce a green colour by mixing with blue. The greenness was there from the Burnt Sienna and Prussian Blue under layers, as discussed previously.

The painting is 16″x12″ and was painted in 2 hours, 3 colours plus white (no black used) and no medium, White Spirits only. Only 1 brush was used for the bulk of the painting, a No. 12 round bristle. The fine lines were introduced with a 00 size, cheap nylon brush. Note that the bristle brush was not cleaned during the entire painting. The excess was wiped off in a tissue paper. This is possible because throughout the entire painting, the same 2 colour mix is used, only the proportions of each colour changes.

Here is the video. See you soon.

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10 thoughts on “Gate House – Time Lapse Painting

    • Thanks Rosie. I think in terms of pigments not colours. I use Photoshop and computer graphics in the day job (graphic design) and here its colour that is important. The range of colours is limitless but they all behave the same. Pigments are different, physical material that is unpredictable and very often it dictates the direction the painting will go.

    • My favourite brushes are bristles, both round and filbert. I’m always trying to use as big a brush as possible, No. 12 (half inch across) for 12″ x 9″ small paintings and bigger sizes as the paintings get larger in size. Sometimes I use rounds and other times filbert depending on what I’m doing, but I will always have a 00 cheap nylon ‘rigger’ for fine lines and details. Luckily they are cheap as the solvents I use wreaks the nylon bristles and I’m constantly replacing them.

  1. It was really meaningful to me that you liked my blog about my Dad, O. Gail Poole. He adored landscapes – I’m sure you two would’ve hit it off.

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