Season’s End

Season's End

Season’s End

The days are shortening and colours are getting greyer, Winter’s coming.

In the painting of the sky, the brush strokes were very obvious because I used solvent only, and lots of it. I don’t like this effect in the sky which should be soft and misty. These brush marks are lessened by blending the paint layer. After the lower part of the painting was completed (in about 1 hour), the solvent had evaporated sufficiently in the sky to allow the paint to be blended. I used a clean large filbert brush to blend the sky colours.

The size is 12″ x 16.5″ and was painted in about an hour and a half. As usual there are only 3 colours used, Yellow Ochre, Raw Umber and Cerulean Blue plus black and white.

Here’s the video, see you soon.

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November Sunshine

November Sunshine

November Sunshine

Unseasonal weather in November – 15 degrees C, nighttime temperature.

This painting uses only 3 colours, Yellow Ochre, Burnt Sienna and Cerulean Blue plus black and white. There is no medium used, only White Spirits.

The size is 12″ x 9″.

Here’s the video of the painting process.

After the Storm

After the Storm

After the Storm

After the recent high winds, snow, sleet, hail, rain, the landscape has a ‘shredded’ look. What a change from recent days.

The colours used are Raw Sienna, Burnt Sienna and Cobalt Blue. These 3 work particularly well in winter landscapes if green is not required. Raw Sienna is too red to produce a green when mixed with a strong blue as Cobalt is. A similar colour, Yellow Ochre, will give the most natural greens, mixed with Cobalt (see here).

This painting, like the last is painted in flat ‘curtains’ of thin atmospheric colour. I used a single filbert bristle and allowed the colours to fade into the next without much cleaning of the brush. I also used variations on these background colours to suggest the buds on the trees, The filbert shape is so versatile as I switch from flat featureless distant hazes to the impossible details of trees. All lines of the graphic details of storm damaged trees were painted with a ‘liner’ (sign writers brush).

This painting is 18″x11″ and was painted in one session in under 2 hours. As usual I used no medium, only solvent, and even as I finished the painting, the dark shadows were beginning to go pale from the evaporation of the solvent. It will however spring back to life when I ‘oil it out’ in a few days.

Here’s the video of the painting process, see you soon.

Snow

Snow

Snow

Bleak and bright, this part of the woods was cleared during summer. A few evergreens survived the harvesting. The snowfall was only a dusting and was gone in a few hours.

I used a round bristle (No. 12) for most of the painting but I prefer the filbert shape. This is a flat brush with a rounded tip. Its shape allows it to be used like a round or a flat. As I’m now using a single brush this versatility is better with this method.

I used 4 colours here, Raw Sienna, Raw Umber, Dioxazine Purple and Cerulean Blue. The subtle Cerulean when mixed with Raw Sienna or Raw Umber produces those beautiful shades of green. You would expect this with the Raw Sienna but there is a definite unexpected green with Raw Umber, a brown colour.

Here’s the video of the process, see you soon.

Mist

Mist

Mist

This painting recounts that brief period as the sun rises above the layer of mist, soon to be burnt away without leaving a trace.

The painting lacks the depth of shadow I would normally apply in the early stages of painting. I used quite a lot of solvent in the mid distance and foreground. This is a bit like watercolour painting but the solvent evaporates much quicker than water. The structure of the scene was created by ‘drawing’ with a fine brush, these details to be later covered by ‘mist’, applied by dragging white over with a wide flat brush. This gave the softness and appearance of mist. The initial ‘drawing’ helped in the placing of the ‘mist’. Without these details I would probably have lost my way.

Mist is much more picturesque than fog. It hangs in low lying areas and is not a uniform blanket like fog. This of course allowed me to have a contrasting solid foreground giving a greater depth in the scene.

This small painting (12″x9″) was completed in under an hour and a half. There are 3 colours used, Raw Sienna, Raw Umber and Cerulean Blue. The details I mentioned earlier were painted with an inexpensive nylon ‘liner’, a long bristled brush used by sign writers. The rest of the painting was done with a single No.12 filbert hog-hair. You will notice I don’t clean this single brush during the painting session. I occasionally wipe off excess on a tissue, but not a full clean with solvent. Having a limited palette of 3 colours makes this work. Also I try and have the colour mixes ‘evolve’ from one into the next. So the colour on the brush contributes partially to the next colour required.

Here’s the video, see you soon.

 

Shanrath

Shanrath

Shanrath

Dotted across the landscape of Ireland are ‘Raths’, circular forts of ditch and bank construction. There is divided opinions as to their function. There has not been enough archaeological investigation to establish exactly why they were built. Were they defensive fortified homesteads, cattle enclosures, ceremonial areas? Many have survived agricultural destruction because of superstition. They were sometimes called ‘fairy raths’ and woe betide anyone who disturbed the homes of the ‘little people’. The rath which was here, survived up to the ’60’s when it was obliterated from the landscape by a local farmer. Nothing now remains except the name of the area, Shanrath, which in English translates as old fort. I remember it well. We often played here as children but never after nightfall.

I saw this unusual cloud formation one evening recently. Natural phenomena always look odd in paintings, but never in photographs, so I had to make it as ‘normal’ as possible. Part of this process involved putting green into the sky. This would bind the sky to the green landscape to remove any possible disconnect of this unusual sky.

The composition is also unusual. The cottage is placed dead centre with the red cloud and the road appearing to rotate anti-clockwise around this centre.

I used 4 colours, Yellow Ochre, Olive Green, Cadmium Red and Cobalt Blue plus black and white. There is no medium used, only White Spirits. The painting is 10″ x 8″ and was painted in about an hour.

Here’s the video of the painting process.

Fontstown

Fontstown

Fontstown

This little church would look quite at home in a Victorian painting. Just a few miles north of where I live, its on what was once the main Dublin road. In recent years the new motorways have taken the traffic off this route and its now a quiet rural area. I painted the scene as it was about 30 years ago with the old trees, probably as old as the church itself, still standing.

Cadmium Red was the underlying colour throughout the entire painting. Unfortunately the photograph above does not register the very feint pinks of the clouds. The video gives a better representation of these very subtle shades. I used my usual method of applying an unmixed layer of the strong red and allowing the solvent to evaporate, then adding an almost white layer on top. The blending and brushing brings up the red which can be controlled precisely. Also notice there is green added into the deep blue of the upper centre sky. This warms the blue but will also help to unite the sky and ground which will be predominately green in a narrow strip.

The green I used was Olive Green. Its a transparent natural green. I find it difficult to use in mixes as it gets ‘muddy’ when combined with some colours. Here I took advantage of its transparency and applied it raw with solvent only. The different tones in the green were due to the ‘blobs’ in the very liquid paint, that is, the thicker the ‘blob’ the darker the tone. Also there are red and blue under colours and this also added to the variations in colours.

This is a ‘watercolour’ technique (with solvent, not water). In watercolours the highlights produced in this way are rich enough due to the nature of paint and paper. In oils the highlights are anaemic and need the addition of opaque white.

This painting uses 4 colours (Raw Sienna, Cadmium Red, Olive Green, Prussian Blue) plus black and white. There is no medium used, only White Spirits. The size is 18″ x 12″ and was completed in under 2 hours in a single session.

Here’s the video. See you soon.