The Plantation

The Plantation

The Plantation

At this time of year, greys and browns dominate the landscape. If you feel like a bit of colour you will only find it in the sky.

This drainage ditch, dug mechanically straight, aligns perfectly with the setting sun, like a neolithic monument on this one insignificant day in the year. The artificial straightness is part of the cultivated plantation. On this side of the fence the wilderness is trying to get in.

This was a time consuming painting and I blame the placing of individual leaves in an apparent random pattern on the bare branches of these trees. Its a difficult process, to create a pattern and have it not look like a deliberate design, but looking like the randomness of nature. We instinctively create patterns or see patterns especially when they are not needed.

This painting is 16.5″ x 12″. There were only 3 colours used (Indian yellow, Permanent Rose, Ultramarine Blue) plus black and white. There was no medium used, only White Spirits.

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

Scarlet Flood

Scarlet Flood

Scarlet Flood

The new year starts with great skies, here’s one.

There are only 3 colours used in this painting. They are the primaries, yellow, red and blue. Up until recently I used colours which were weak versions of the 3 primaries. For example, Burnt Sienna for red or Yellow Ochre for yellow. The secondary mixes were subtle soft colours and I would introduce the raw colour, here and there, to perk up these colours. Where the secondary mix was particularly weak, like the green produced by Yellow Ochre and Cerulean Blue, a ‘tube’ green like Viridian was used.

This painting is produced by very strong primary colours, Indian Yellow, Alizarin Crimson & Ultramarine Blue. To produce a natural landscape with these vivid colours requires using all 3 colours, even in tiny amounts, in each mix. The initial under colours are the lowest quantity in the mixes. For example, the red in the sky is under painted with blue and the blue of the sky is under painted with red. Because its ‘wet on wet’ there is a little bit of this under colour picked up in the final layers. The more you brush the more is picked up. To perk up these layers some of the under colour is left uncovered.

All is revealed in the following video. And remember, to view in realtime change speed setting to .25. Quality can also be set to 1080HD.

Colours used Indian Yellow, Alizarin Crimson, Ultramarine Blue plus black and white. All Alkyd Oil Paints. There is no medium used, only White Spirits solvent. The size is 16.5″ x 10″ and was painted in a single session in under 2 hours.

The Hidden Cold

The Hidden Cold

The Hidden Cold

A little bit of Eastern European weather came our direction recently. No rain or snow, just cold air. The landscape is desiccated and even the evergreens have yellow and orange colours. Warm colours, cold walking.

When you view the accompanying video, notice the 2 ‘dippers’ on my palette. The lower one contains solvent – White Spirits, a petroleum derivative, the upper one I rarely use and when I do, contains Liquin and solvent. The proportions are 25% Liquin, 75% solvent. I use this when the weather is warm as it slows down the evaporation of the solvent.

‘Dippers’ clipped onto the palette and brushes ‘dipped’ therein is the traditional method of adding solvent or medium to paint mixes. What a mess this makes. How do you keep the liquids clean? I use very few colours and a bit of cross mixing will not do much to ‘dirty’ my colours, but with a large number of different colours, all adding their bit to the liquids, makes it impossible to keep colours from becoming muddy.

I use a plastic pipette and add the liquids to the paint mix. I can add a specific quantity, a drop at a time, until I reach the consistency required. Check it out in the video below.

This painting uses only 3 colours (Indian Yellow, Permanent Rose, Prussian Blue) plus black and white. There is no medium used, only White Spirits. The size is 15.75″ x 9.75″ and was painted in a single session in under 2 hours.

To view in realtime change setting to .25. Also, quality can be set up to 1080HD.

Year’s End

Year's End

Year’s End

A little bit of frost remains on the grass as a warm front moves in.

One of the most frequent requests I get is to upload a ‘realtime’ video of the painting process. This was technically impossible for me because of the file sizes involved and my broadband was not good.

Recently my broadband capacity got a boost and I can now upload much bigger files. The video I uploaded in this post can be slowed down to the ‘realtime’ speed using the YouTube settings. By doing it like this the file size is still 25% of an actual realtime file but the movement is a bit blurred. Needless to say, the speed can also be increased to my previous setting.

Also remember the viewing quality can be maxed up to 1080HD in the same settings (All this depends on your broadband speeds).

Please excuse the missing start of the painting. In my experimenting, I ‘lost’ the first part of the painting video.

This painting uses only 3 colours (Indian Yellow, Alizarin Crimson, Prussian Blue) plus black and white. There is no medium used, only White Spirits. The size is 16.5″ x 12″.

Here’s the video. See you soon.

December Afternoon

December Afternoon

December Afternoon

Fog and mist hang in the air.

The size is 16.5″ x 12″. Painted in a single session.  3 colours used Indian Yellow, Alizarin Crimson, Ultramarine Blue plus black and white. There is no medium used, only White Spirits.

Here’s the video of the painting process.
The photo of the painting can be seen enlarged by clicking on the image above.
The YouTube setting allows the video to be played at a slower / faster speed or the quality to be changed up to 1080HD.

See you soon.

Silver Shadows

Silver Shadows

Silver Shadows

Gold sky and frosty silver shadows, has given this mucky lane a certain charm.

Only 3 colours used (Indian Yellow, Alizarin Crimson, Ultramarine Blue) plus black and white. The medium is Liquin and White Spirits. The size is 16.5″ x 12″, painted in a single session.

Here’s the painting process, see you soon.

November Fog

November Fog

November Fog

The greyness of fog will soon melt away in the morning sun.

I like to have fine line details in my paintings, such as in the trees or foreground grasses. I also like these details to have a natural look. This is a difficult task. Some very small details can be suggested as in the distant trees or the very small branches in the 2 trees on the left in this painting.

I use a very fine nylon brush for the details which have to be seen, the tree trunks and fence posts for example. Carrying a solvent rich quantity of paint on the brush can produce these lines on the wet under colour. The smaller details can be dragged out of these ‘reservoirs’ of liquid paint with the tip of the fine brush. As with the trees here, they were populated quickly with lots of smaller branches using this technique.

For foreground grasses the same applies – blobs of liquid paint are put in place, sometimes outside the edge of the painting and flicked upwards with the fine brush.

This painting uses 4 colours (Yellow Ochre, Alizarin Crimson, Raw Umber, Cobalt Blue) plus black and white. All colours are Alkyd Fast Drying Oils, except Cobalt Blue. The medium used is Liquin and White Spirits. The size is 16.5″ x 12″ and was painted in a single session in under an hour and a half.

Here’s the painting process, see you soon.