I was planning to paint this scene as a dull grey morning with loads of blue-grey mist. The sky was already painted to fit such a scene when I had a change of mind and decided to look forward to a more pleasant sunny time which, hopefully will be here soon.
This is why Cadmium Yellow arrived late on the palette. The original colours were Yellow Ochre, Burnt Sienna and Cobalt Blue. The combination of the yellows (Cadmium & Ochre) produce the most amazing range of ‘golden’ colours and it certainly has produced the brilliant light effect here.
Adding such a strong colour late into my painting process means backtracking to introduce this colour into as many places as possible to avoid alienating the particular shade of yellow. I would always try and have the entire range of colours in every part of the painting, particularly the sky. As it worked out it was good that this yellow was not in the sky mixes. This would have introduced too much warmth into the morning sky. As it is, in contrast to the rich hot colours created by the rising sun, the sky does seem to be cool.
A little bit of everything, weather-wise. There is a definite touch of Spring in the air. The cattle are out of their Winter quarters in spite of the wet conditions. For many farmers the winter feed is coming to an end and there is no choice but to let them out.
I’ve used my 3 favourite colours here – Yellow Ochre, Burnt Sienna and Cobalt Blue.
When the black herds of the rain were grazing,
In the gap of the pure cold wind
And the watery hazes of the hazel
Brought her into my mind,
I thought of the last honey by the water
That no hive can find.
From The Lost Heifer by Austin Clarke
For a while I’ve not included black in my limited palette, usually of 3 colours. Not using black seems to be the norm by landscape painters. Probably because I use so few colours but I found it a bit restrictive. I would have to use a dark blue (Ultramarine or Prussian) to produce dark shadows and even at that it meant layer after layer of alternating red (Burnt Sienna, Burnt Umber or Indian Red) and blue to build up the darks.
Here I have used Cobalt Blue and also black. It gives the painting a more ‘gritty’ look and in keeping with my current painting subjects – cold, wintery landscapes.
The colours used here are Raw Sienna, Burnt Umber and Cobalt Blue, plus black and white.
Here’s the video, see you soon.
Spring is creeping into the landscape and the recent heavy rainfall has swollen the river. The erosion of the banks has lead to the collapse of this tree.
I was interested in the contrast between the apparent featureless grass field and the tangle of broken branches and roots of the fallen tree.
The entire painting was produced with only 2 brushes. A no. 8 filbert and a 00 nylon ‘rigger’. There are only 3 colours used (Raw Sienna, Raw Umber and Prussian Blue) and the mixes evolved through a series of colours produced by varying the proportions of each constituent tube colour. The large brush was not ‘cleaned’ between the various mixes, the excess was just wiped from the brush on a tissue paper. The result is a harmony of colour as the entire painting is basically the same colour, with variations. The small brush is used to introduce details. This is similar to a watercolour technique as these details are painted with a very solvent rich liquid paint.
Its a different approach to what is normally employed by oil painters where a series of colours are mixed simultaneously and the different colours applied, usually by a different brush reserved for that colour.
Here is the video of the painting process, see you soon.
This little boathouse is on the grounds of the De Vesci Estate, Abbeyleix. The house, a four storey mansion, was built in 1774 by James Wyatt. The boathouse was probably built some time after this date. Although its overgrown and in need of restoration, it still retains the essence of 18th century estate life. As you can see from the photos I took when I visited the estate, I used a little bit of ‘artistic licence’ to convey how it might have looked in former times.
This is another ‘green’ painting. As you probably know I’m using Alkyd oil colours at the moment. Unfortunately the range of colours are not as extensive as standard oils. So I used a standard Cadmium Yellow with the other Alkyd colours (Yellow Ochre, Raw Umber, Burnt Sienna, Viridian Green and Prussian Blue). They are compatible if a few rules are observed. The greens are warm and rich and quite different from the last painting (here).
I am staying with the ‘green’ theme, in celebration of the arrival of summer, but I intend to try and vary the colours as much as I can. Unlike the last painting this took nearly 3 hours to complete because of the details in the foliage. As you will see in the video (in the next few days) the colours were built up with the lightest colours first, with progressively darker colour overlaid. This is one of the advantages of Alkyd, the under colours begin to dry before the next layers are overpainted. Almost impossible to do with standard oils.
I will have the video in a day or two, see you then.
The problem with this time of year, for landscape artists in Ireland, is the overabundance of green. The monotony of green. Its a real challenge to produce variety from one painting to the next. Green is a difficult colour at the best of times. The standard greens like Viridian, Chrome Green or Sap Green straight from the tube have to be conditioned with a red colour to have a natural look. In fact the most natural greens are usually those made from mixing yellow and blue. The colour will vary infinitely between the yellow and blue so its easier not to have a uniform boring colour.
My next painting is also a green Summer landscape and I made a big effort to be different.
In the meantime have a look at the painting of this one See you tomorrow.
If you visited Ross Castle at Killarney, you probably passed this scene. I thought as a subject for a painting this was more interesting than the usual ‘tourist’ scene of the castle and lakes. The circular shape of the bridge and its reflection has a surreal appearance in this ‘jungle’ like setting. I painted the bridge and boats as smooth regular shapes and everything else as chaotic blobs of paint.
I’m still using the Alkyd fast drying paints and these are way more flexible in a single session painting. Another characteristic of Alkyd is the ability to paint on more absorbent surfaces than you would do with standard oils. This painting is on Daler Oil Painting Paper. I’ve had this for years but found it way too absorbent for oils. The only disadvantage is its mechanical weave not like the organic texture of canvas. The paint layer is thick so very little of the weave is evident in the final painting.
The painting was completed in under 2 hours and I will have the video of the process in a day or two. See you then.