Inlet

Inlet

Spring is here.

The sunlit portion of the far riverbank (one third distance in from the right hand side) is where all journeys into this scene end. I concealed it behind the foliage of the small tree to add more mystery and interest.

To reinforce this point of interest I created 2 sunbeams spotlighting this area. But the principal device leading the eye towards the sunlit riverbank are a series of noticeable colours on the left foreground riverbank. Starting in the lower left corner with purple (from the underpainting), next the lighter green highlights, then a few spots of crimson (also from the underpainting) lead to the orange and across the water to the point of interest.

Hopefully this adds a little interest to an uneventful traditional scene.

This painting uses only 3 colours (Cadmium Yellow, Alizarin Crimson, Prussian Blue) plus black and white. There is no medium used, only White Spirits. The size is 16.5″ x 12″ and was painted in a single ‘wet on wet’ session in about 2 hours.

Here is the video of the painting process. Using the YouTube settings, on the bottom bar on the screen, the speed can be changed. The standard speed is 4x and the video lasts about 30 minutes. To view in realtime change setting to .25. This is about 2 hours. My favourite is the fastest setting, 2. This is a snappy 8 minutes. Quality can also be set up to 1080HD.

Beside the Lake

Beside the Lake

A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
(WILLIAM WORDSWORTH)

The yellow blobs of paint in the foreground needed to be recognisable as daffodils. These ‘explain’ the yellow blobs in other areas of the scene – they must also be daffodils.

I truncated the daffodil stems in the foreground to suggest we are looking over them and along the lake shore to the gate and further into the scene.

As usual I’m using various elements of the composition to draw the viewer into the painting. Diagonal lines, repeated shapes and colours. Like the strong yellow of the foreground flowers repeated in the reflections in the water and further to the sunlit trees in the distance, reinforced by the patch of bright sunlight in the top right corner of the painting, or the ‘scratchy’ line of the fence wire leading us to the ‘scratchy’ gate or the ‘zig-zag’ route through the daffodils to entice us in.

There are 3 colours used in this painting, Indian Yellow, Alizarin Crimson & Ultramarine Blue plus black and white. There is no medium used, only White Spirits. The size is 16.5″ x 12″ of primed un-stretched canvas which will be laminated onto a stiff board when the painting is dry.

Here is the video of the painting process. To view in realtime change setting to .25. Quality can also be set up to 1080HD.

Kilkea Castle Grounds

Kilkea Castle Grounds

Built in 1180ad by the invading Normans, this castle was the longest inhabited castle in Ireland until the financial crash nearly a decade ago. In recent decades it was a hotel and plans are afoot to reopen the hotel..

The two towers of the castle, in grey limestone, are intrusive in this idyllic scene. I echoed these two vertical shapes in various parts of the design. Most notably the reflection in the river, the two trees on the right and the two trees on the left of the castle. This places the castle as part of the landscape. I think this is a harmonious arrangement in this instance, rather than placing trees etc. at random. Of course if this is too obvious it will look un-natural.

The use of only three colours will guarantee harmony of colour, provided the colours are well distributed over the entire surface as secondary and tertiary mixes. The three colours used here are Indian Yellow, Alizarin Crimson, Ultramarine Blue plus black and white. There is no medium used, only White Spirits.

The size is 16.5″ x 12″ and was painted in a single ‘wet on wet’ session of about two hours.

Here is a video of the painting process. To view in realtime change setting to .25. Quality can also be set up to 1080HD. See you soon.

Wetlands

Wetlands

Wetlands

The emergence of spring green with the remains of winter browns is always an inspiration.

I’m using my usual composition to draw the viewer into the painting. The diagonal lines from the corners lead the eye into the landscape, around the central group of trees, to the mysterious mountain in the distance.

There is the appearance of perspective because of the regular size reduction, with distance, seen in the trees. I was trying to avoid the cliche of the line of trees running into the distance with the appropriate perspective applied. So the trees are grouped, flat-on to the viewer, and placed at receding distances. The central group have 3 shorter trees on the left to help the illusion. I think it is more interesting like this.

I’m making much use of underpainting and allowing it to be part of the final painting. I’m choosing transparent colours as these work best and glow in the final painting.

The size is 16.5″ x 12″ and was painted in a single ‘wet on wet’ session in about 2 hours.
This painting uses only 3 colours (Indian Yellow, Alizarin Crimson, Ultramarine Blue) plus black and white. There is no medium used, only White Spirits.

Here is the video of the painting process. To view in realtime change speed setting to .25. Quality can also be set up to 1080HD. See you soon.