House Bound by Hurricane

I had intended painting outdoors today. In fact I tried and couldn't find a spot where it was possible to keep the easel upright, the tail end of Katia is currently visiting the North East. So home and a change of plan. I decided to try and produce something loose using one brush, a size 10 sable. Out came the sketch books from our round the world trip of last year and I lighted upon one of the drawings I made in Monument Valley.

Another step on the road to growing confidence with the brushes. I need to get in form as I'll be off to do a week with Charles Reid next month, that will get the juices flowing as well as the pigment.

Butte Monument Valley - watercolour on Rough paper 12" x 9"

March Project - Monument Valley

This was the photograph I chose for the March renewal of my monthly project with my friend Peter Ward (watercolourfanatic.blogspot.com). The picture was taken on a trip during 2010.

My first thought on this was that the composition was awkward for a painting, so I decided to use the elements, slightly rearranged, and change the format to landscape. The next decisions were in relation to producing a convincing depth of field.

Roll on next month and a new project.

Monument Valley - Photograph

Monument Valley - Watercolour on Rough paper 16" x 12"

A less than Successful Return to Watercolour

At the present time I don't seem to be able to get much time for my painting, life has a habit of getting in the way. So, a brief opportunity to break out the watercolours was very welcome. However that doesn't necessarily mean that the time spent is going to leave one with a sense of satisfaction. This was one of those times.

The first image is a partner piece to my picture of Joseph Skipsey, posted a while ago. I have a real interest in some of the old photographs depicting the world inhabited by my grandparents and in particular those with a relationship to the Durham coalfield. This is an attempt at a well known picture of the famous Durham coalfield songsmith, Tommy Armstrong.

Why dissatisfied? Well for me the harsh edge to the shadow on the left cheek, the lack of real dark tone in the eye passage and the slipshod finishing at the bottom of the page detract from the overall effect. As I look at it the coat could have had a better treatment by keeping the paint fluid while trying to introduce a range of balanced colours. How would you have done it?

Tommy Armstrong - watercolour on Fabriano Artistico 14" x 11"

The second piece is based on a photograph taken on our recent trip to the States. In this one, whilst I have achieved one aim, that of creating credible recession, the detailing of the main bluff is crude and the shadow work across the piece is less than impressive.

Monument Valley - watercolour on Fabriano Artistico 14" x 11"

Lessons have been registered in line with the comments above, but for me the main lesson is to maintain a regular contact with the medium so that I approach each excursion with some recent experience to strengthen the technique. Preparation of materials is also important, I still find myself avoiding putting out fresh paint as often as I should. Hopefully, these lessons will not be so quickly forgotten as they were the last time I 'learned' them.

Mittens at Daybreak

A view known to us all from years of watching Westerns. On our stay in Monument Valley it was impossible not to be drawn back here time after time.

Mittens at Daybreak - Oil on canvas board 12" x 10"