Abandoned Farm

Abandoned Farm

Abandoned Farm

The colours of Summer, chlorophyll in all its variations competing for sunlight.

To emphasise the Summer green and produce a glow of colour, you will need plenty of shadow areas. At a certain point in this painting, it looked like a disastrous black smudge.

With a limited palette of 3 colours, the lighter colours painted on top of the wet shadow colour were essentially the same colours with white added. This gives a vibrant range of sun-lit colours. Remember, the fewer the number of colours in a mix, the higher the chroma. My current palette limits this to 3.

The less highlight colour added the more dramatic the effect. Generally less is better. Painting highlights and sun-lit areas of an oil painting landscape is difficult as it goes against our instinctive inclination to draw shadows and leave lit areas untouched, as with watercolours.

Here’s the video, see you soon.

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Riverside Breeze

 

Riverside Breeze

Riverside Breeze

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

Here’s the video.

River Island

River Island

River Island

Although still wet underfoot, its safe to follow the river track and enjoy the nice bright days of spring.

The painting is 16″ x 11′. Only 3 colours used (Yellow Ochre, Permanent Rose, Cobalt Blue) plus black and white. There is no medium used, only White Spirits. The bulk of the painting was with a single long bristled no. 10 brush. A liner was used for fine lines.

Advent

Advent

Advent

Advent, a time of expectant waiting and preparation. And so it is. The little ones have no problem preparing for the celebration of the Nativity, its the arrival of Santa Clause which causes most concern. One grandchild could not understand why Santa came down the chimney to deliver their gifts, and why he does not use the door like everybody else. The mystery and suspense makes it a magical time, especially for children.

I’m reminded of the poem, Advent, by Patrick Kavanagh where he writes about adults loosing something by thinking they know everything.
“We have tested and tasted too much, lover-
Through a chink too wide there comes in no wonder.
But here in the Advent-darkened room
Where the dry black bread and the sugarless tea
Of penance will charm back the luxury
Of a child’s soul, we’ll return to Doom
The knowledge we stole but could not use.”

Appropriately the colour which dominates this painting is purple, a colour I started to use a few months back. Like green, its a secondary colour made by mixing 2 primaries, yellow and blue for green, red and blue for purple. My usual colour scheme is 3 primaries (yellow, red, blue) and 1 secondary. For me, red includes Umbers, Burnt Sienna as well as the obvious reds like Cadmium Red and Alizarin Crimson. In fact, the range representing each of my primaries is very broad but I think the 3 primaries should be present in some form to produce the widest range of colours and help the ‘natural’ look of a landscape. Because the resultant secondaries are sometimes not the expected colour (here Burnt Sienna (red) and Ultramarine (blue) does not produce a strong purple) I used a ‘tube’ purple.

The colours used here were Raw Sienna (yellow), Burnt Sienna (red), Ultramarine (blue) plus Dioxaline Purple. Black and white are also used but not considered as colours.

The painting is 12″x9″ and was painted with a single long bristle filbert and a very fine nylon for thin lines. I also used a painting knife for really thin lines. I used only solvent, no medium, and the painting was completed in a single 2 hour session.

Here’ the video of the painting process.

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.

November

November

November

Across the flat midlands of Ireland you will come across small hills and ridges called drumlins, a legacy of the ice age, created by the melt waters as the glaciers advanced and retreated over hundreds of thousands of years. Many have been quarried for their sand and gravel deposits but here and there a few have survived. Like this little hill they add interest to an otherwise featureless landscape.

This is a small painting, measuring 10″x8″ and was painted in about one hour. I usually paint on loose un-stretched canvas which I later laminate onto a rigid board for framing. This was painted on a canvas textured oil painting paper which was sold as a surface for oil or acrylic painting. I found it too absorbent for oils and the colours deadened when the oil in the paint soaked into the paper. So I applied a thin layer of rabbit skin glue size to both sides, letting the first dry before coating the second side. This reduced the absorption and the colours remained vibrant until dry. Applying rabbit skin glue size is an ancient method of ‘sizing’ a surface prior to oil painting. It was found to resist the effects of dampness better than other organic materials, an important consideration in this part of the world.

I know there are modern synthetic equivalents, like ‘polybond’, which are probably as good or better but it takes a few years to see if they work as well, so I’ll stick to the traditional material until further notice. I use the modern material to laminate the canvas or paper onto a board as it does not come in contact with the paint layer. If it fails the worst that can happen is the canvas or paper detaches from the board and not the paint layer detaching from the surface. The modern material usually has a fungicide added and this prevents mildew and fungus from developing in damp conditions.

The colours used are Yellow Ochre, Cadmium Red, Raw Umber, Cobalt Blue plus black and white. There is no medium used, only White Spirits.

Here’s the video, see you soon.

 

Winter Bogland

Winter Bogland

Winter Bogland

It can be a little eerie, here in the water soaked bogland. Recently yet another body was found in the northern area of this remote sea of peat. As usual, it is thousands of years old and the circumstances of why this person was apparently sacrificed is lost in prehistory. Up until recently, turf was harvested as fuel for fires and the bogland was a busy place. Now many areas are preserved as heritage sites, because of the unique flora, and the wildness is returning.

To create an inner glow in the left foreground, which is in shadow, I painted thin layers of colour and allowed its transparency to produce the mid tones. Where the paint got a bit heavy, as in the large trees, I lifted the paint with solvent  allowing light to shine through. The actual highlights were applies as white with a little Yellow Ochre dabbed onto wet paint and allowing the colours to mix.

The colours used were Yellow Ochre, Burnt Sienna, Olive Green, Ultramarine Blue plus black and white. There is a small amount of Liquin Fine Detail used for the white lines of the trees in sunlight. This is the only time a medium was used.

Here’s the video. See you soon.