October Coloured – Time Lapse Painting

October Coloured

October Coloured

Its a time of storms as the last leaves are shaken from the trees. I was interested in portraying movement and energy. I used diagonal lines and rough painting to help convey this.

The colours used are Raw Sienna, Burnt Umber and Prussian Blue. White was also used but no black. I’ve not been using black recently and this has an effect on the colours and the overall look of the paintings. When I was using black, its purpose was to darken the colour of the various mixes used in mid-tone areas to produce shadow areas. Without black the shadows are produced by adding more blue to the mid-tones. So all shadows are blue-purple, as the only other colours I’m using are Burnt Sienna, or Raw or Burnt Umber. Only 1 of these are used in a painting. Also the greens don’t get darker in shadows they become a shade of turquoise.

At the moment I have no plans to start using black again, but things could change. I like the look of these paintings. The colours are beautiful, if you don’t mind me saying so myself. I’m happy I have retained a semblance of the real world with colours that belong to semi-abstract paintings.

The size is 16″x12″ and took about 2 hours to complete. I used no medium only solvent to spread the colour.

Here’s the video of the painting process. See you soon.

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.

Boundary Wall – Time Lapse Painting

Boundry Wall

Boundry Wall

In every part of Ireland you will see walls like these. Usually they are associated with an estate or landlord’s residence. Many were built as famine relief work in the 1840’s. At that time, the social structure was landlords and tenants, similar to the rest of the United Kingdom. Tenants rented small holdings from the landlord and paid rent in the form of a portion of their produce. In Ireland there was one major difference to the situation that existed in the United Kingdom. Here, the landlord was usually a ‘planter’, that is,  English or Scottish, planted on the land in place of the de-possessed Irish chiefs. Some landlords treated their tenants very well and some did not. But nevertheless, having a non indigenous aristocracy was a social structure doomed to failure. This came during the Irish War of Independence in 1920. Some of the ‘bad’ landlords were attacked and their houses burned. Others, including some ‘good’, took fright and abandoned their estates. When the Irish Free State was formed, the Land Commission divided many of these abandoned estates and distributed the land among the former tenants. The estates were gone but the boundary walls still remain. Here is a poem titled “The Planter’s Daughter’ by Austin Clarke and gives a flavour of the position of the landlord in Irish society prior to independence. There’s an interesting discussion on the poem here.

The Planter’s Daughter

When night stirred at sea
And the fire brought a crowd in,
They say that her beauty
Was music in mouth
And few in the candlelight
Thought her too proud,
For the house of the planter
Is known by the trees.

Men that had seen her
Drank deep and were silent,
The women were speaking
Wherever she went –
As a bell that is rung
Or a wonder told shyly,
And O she was the Sunday
In every week.

Here is the video of the above painting. Materials and method similar to last painting. See you soon.

Glendalough Solitude – Time Lapse Painting

Glendalough Solitude

Glendalough Solitude

Round Towers are found in many parts of Ireland, usually associated with former monastic settlements. It was once thought they were built as places of refuge from the raiding Vikings over a 1200 years ago. After all they were built like small castles and the only entrance was 10 feet above ground level, accessed by a ladder. Although the monks may have tried to escape the raiders in the towers most experts now think the towers were built primarily as bell towers. Monastic settlements were more than just places of worship. The temporal welfare of the occupants needed to be catered for so this meant a lot of agricultural and industrial activity. A bell to announce times for the beginning and end of various activities throughout the day was essential for a well ordered society and these settlements could cover large areas and have many occupants. One of the best preserved towers is in Glendalough, County Wicklow. I have included it in this scene. By the way the reason why the entrance was so high up was because the towers were built without a foundation so the bottom of the tower was a solid lump of masonry, up to the height of the doorway, to stop it falling over.

Like the last painting (here) this scene was sketched in with dry paint (unmixed with solvent or medium). Later colours are added on top and a certain amount of mixing happens to alter these colours. Its easy to control if the paint is kept dry. The more you work it, the more mixing happens.

Still using just 3 colours and white only, no black. The colours are Raw Sienna, Raw Umber and Prussian Blue.  White Spirits was used initially to spread the dry paint at the sketching stage and at the end to paint the fine lines of the trees and building details.

Here is the video of the painting process. See you soon.

Home through the fields – Time Lapse Painting

Home through the fields

Home through the fields

The kids are back in school and many in rural areas will take advantage of the good weather and bright evenings to take a ‘short-cut’ home through the fields. The blackberries are ripe and there will be many a crab apple tree to add a sharp bite to the sweetness of the berries. When we were children we were told it was OK to eat the wild fruit before Oiche Samhain (Hallowe’en night) because on that night the evil spirits went around the countryside ‘pee-ing’ on the fruit. A bit of folklore to ensure we didn’t consume anything after its ‘use before date’.

This is a small (11″x9″), quick painting even by my standards, and took about an hour to complete. It seems easier to try new techniques on a small painting. Here I sketched in the general scene in dry (no solvent or medium) unmixed paint. The later additions of paint had solvent added and blended with the paint already added. For example, in the sky, white with a little White Spirits added, was painted over the dry blue and umber paint to pick up the colour. I would normally paint the initial colours with loads of solvent which, when it evaporated, would not be inclined to mix with paint laid on top. The method in this painting reversed the procedure and worked well, giving smoother blends with less texture. This was OK in this small painting as the canvas texture poking through might be a little too rough relative to the small surface area of the painting.

3 colours used, Raw Sienna, Raw Umber and Prussian Blue. White was also used but no black. There was no medium used, just solvent (White Spirits).

Here’s the video of the painting process. See you soon.

Duke Street – Time Lapse Painting

Duke Street

Duke Street

Just for a change I painted this urban scene. It was a bit of a challenge not to get tied up in the regularity of rectangular shapes. Duke Street is one of the main streets in Athy, County Kildare. There is a mixture of modern and old buildings, of urban landscape in a small rural town. In Medieval times, Athy was a frontier town. The bridge here was a guarded entrance to the Pale, a fortified English area around Dublin. The expression ‘beyond the Pale’ comes from these times and referred to the ‘wild Irish’ who were beyond the control of the invading English forces.

The painting is 16″x12″ and was deliberately painted quickly (about an hour and a half) to ensure I didn’t get rapped up in the tedious details of buildings, something I am prone to do. I am still not including black on the palette, just 3 colours plus white. The restricted colour range added harmony of colour and harmony of texture was achieved by not blending the paint too much, especially in the sky.

Here is the video of the painting process. See you soon.

Wandesforde Estate – Time Lapse Painting

Wandesforde Estate

Wandesforde Estate

Its not so much a sunset as a late afternoon in September, or how I imagined a late afternoon would look, here, beside this lake. It was summertime when I was here and I intended to paint this scene at some point. At the time the trees were fully laden and everywhere was an intense green. I think I needed Autumn to tell the story of this place and give a sense of what a beautiful place it was in former times. There is great work in progress at the moment in restoring the estate and hopefully it will continue.

As I said the scene is not a sunset, but even so, we expect silhouetted shapes in the foreground when viewing a sunset. I wanted the best of both worlds, a kind of sunset but a well lit landscape as well. It was a matter of getting the sky just bright and red enough to suggest the setting sun. I left this part of the sky (on the right hand side) unfinished until the mid and foreground colours were roughly put in before the light was added, to get the balance right. The red I mentioned was painted with solvent only, in Burnt Sienna and white. A little raw Burnt Sienna was added to vary the intensity and add random shapes in this area. By the time I got to painting this part in final colours, the solvent had evaporated and the paint was fixed so not much mixing happened. As you probably know, I’m using Alkyd colours and they really start to dry very quickly, especially when solvent only is used.

Burnt Sienna was also allowed to peep through the final colours as a way of tying ground and sky together, reducing the sunset effect and the expectation of silhouettes.

Here is the video of the process. See you soon.

Wandesforde Estate – Oil Painting

Wandesforde Estate

Wandesforde Estate

It is, in fact, the former Wandesforde Estate. Now its a theme park called Castlecomer Discovery Park. Up until 1969 there were coal mines operating on this site and when this industry closed down, the estate was rejuvenated as a community project. With about 80 acres of woodland this park is open to the public with loads of activities, especially for kids, and a museum and tour on Castlecomer’s former coal mining industry. Very interesting indeed.

Castlecomer Discovery Park Web Site Masthead

Castlecomer Discovery Park Web Site Masthead

I’ve included here the masthead of the website for the discovery park because it has a photo of the scene on which this painting is based. The season is a little different and angle of view is different, but it gives you a flavour of the scene.

I’m still using just 3 colours, plus white and no black. The Burnt Sienna and turquoise (Yellow Ochre + Prussian Blue) have produced a beautiful shimmering effect which is not portrayed well in the above photo. It just worked in this painting, sometimes it doesn’t.

Clicking on the photo gives a close up view and you can see the places where the under colour peeps through the upper layers.

I will post the video of the painting process in a few days. See you then.

Coppiced Trees – Time Lapse Painting

Coppiced Trees

Coppiced Trees

Coppicing, in case you don’t know, is a practice of woodland management, whereby the thees are harvested of their branches and the stump left to produce more wood. Its an ancient practice in Europe to produce renewable wood for all sorts of purposes from wattles for housing and baskets to charcoal production.

This is a small painting, 11″x8″, and was painted in about an hour. 3 colours are used, Yellow Ochre, Raw Umber and Prussian Blue. White is also used, but no black. Solvent (White Spirits) is used at the beginning and at the end, in fine lines. Otherwise its a dry painting method. Not using black is something I’m experimenting with at the moment. I’m also interested in producing a soft image which is strong and vibrant. In the past I made strong images with light and shade and black was a big part of this technique. Because there is no black used here, I’m trying to give strength by having a rough textured surface in this soft image. If you click on the above image you will see an enlarged version and note the underpainting is not completely covered by final layers of paint giving a ‘daubed’ effect.

‘Oiling out’ is important as the underpainting is very matt and when dry, this gloss difference between underpainting and final paint layers is too distracting. The layer of oil medium unifies the surface.

Here is the video of the painting process. See you soon.

Flood Plane – Oil Painting

Flood Plane

Flood Plane

Traditional watercolour artists do not use black paint. The technique is reliant on the paper colour illuminating the transparent layers of paint. The highlights are devoid of paint and the deepest shadows have the heaviest paint but are still transparent. I’ve borrowed many of these watercolour techniques in recent oil paintings (using solvent in place of water) so it was only a matter of time before I would also stop using black. Its only a temporary phase I’m going through though, I think, as there are going to be times in the coming winter when black will be required.

In the accompanying video the dark handled brush is a round and its used from start to finish without much cleaning between mixes. The ‘dry’ paint is wiped off on a tissue paper and occasionally a little solvent is used in the cleaning. This illustrates that my colours ‘evolve’ through stages of light and dark coloured mixes. For example, the initial blue of the sky is lightened to become the clouds on the horizon. This mix is then darkened with more blue (Prussian) and red (Burnt Sienna) to become the clouds. This grey is then changed with a little yellow (Yellow Ochre) to become the distant trees. The same mix is then changed with more blue and yellow to become the nearer trees. In effect the same 3 colours are used throughout the entire painting, only the proportions of each colour changes. The result is harmony.

The light handled brush is a wide filbert brush (No. 12) and its used only to blend the colours, especially the sky colours. A ‘rigger’ type of nylon brush is used for fine lines using a ‘wet’ mix of solvent (White Spirits) only.

The painting is 16″x12″ and took about 2 hours to complete in a single session. There are 3 colours plus white used (no black).

Here is the painting video. See you soon.