Gun Hill - Clearing Storm

This is my first stab at producing a painting from the source material brought back from Norfolk. The inspiration was the board sketch posted on June 30th. As you can see there are significant changes that were designed to produce an image with more drama than the original scene. The design was arrived at after a process of producing sketches and notans prior to deciding on the final composition. At the moment it is standing on the easel where it will stay until I can decide what additions might improve it. Any suggestions would be welcome.





Gun Hill - Clearing Storm - Oil on canvas 20" x 16"

Brain and Back Dead

The exertions of the two days with Martin Kinnear left me exhausted and the constant standing at an easel had my fragile back screaming for relief. But I was in Norfolk to paint and paint I would. The solution for me was to dig out my trusty watercolour box and armed with it, a couple of sable brushes and a Fabriano block I took up position on the sensibly located benches overlooking the harbour at Burnham Overy Staithe. This picture is the result.

Burnham Overy Staithe - Watercolour on Fabriano Rough 12" x 9"

Tan or Notan

After a couple of days scouting around the North Norfolk coast it was off to the Norfolk Painting School for two days of the most intense thinking and practice that I've ever had. The title of the course was 'On Location' and was to be a mixture of working both outside and in the studio.

As is usual with Martin's courses there was to be a healthy mix of theory, demonstration and practice. We began by looking at a variety of works by masters and asking ourselves how they worked as paintings. Then on to look at ways of recording for the purposes of preparation for studio painting, using sketches by people like Turner and Constable as exemplars. Here we were urged to see the difference between Mass and Line and asking ourselves where and when each technique is appropriate. The end of this session was to grasp the usefulness of the Notan as the basis of ensuring that we had an arrangement of elements that would produce a coherent composition. We all produced a series of notans in response to a picture of a cathedral depicting how we would select a method of presenting the basic elements in light and dark to make a pleasing picture. Below are a set produced by Martin, showing a range of options in terms of lighting and shadow.

Notans - Martin Kinnear

Our next task was to give some thought to rendering scenes by applying paint in a simplified way but using the same underlying principle - outline the way the final image will be presented.

The next two pictures show different approaches to another cathedral picture.

Durham - M. Kinnear

Durham - M. Carney

Martin then demonstrated how the most complex scenes could be reduced to simple working sketches, but more of this later. It was now time to head outdoors. The venue for our afternoon session was Burnham Overy Staithe, a fascinating small village on the coast with typical Norfolk creeks, rapidly changing water levels and lots of boats. A place that would test us in terms of simplifying the scene in front of us. Our object was to produce working studies for future use. The group was small, three students, and we all produced at least four oil sketches that could be used as the basis for further paintings. Interested passers-by stopped regularly to comment on the mounting body of work being produced and laid on the grass at our feet. An intense session with lots to think about and criticise.

The two panels below are indicative of the work that I did. They show a similar view but the second demonstrates a different degree of decision making in terms of how I saw potential in the scene before me. The second will be the source sketch for a studio painting, hopefully started soon. Hopefully there is a greater feeling of light in this interpretation.

Burnham Overy Staithe 1 - Oil on MDF panel 11"x 9"

Burnham Overy Staithe 2 - Oil on MDF panel 11" x 9"