March 2007

I’ve just completed a painting of the Langdale Valley in Cumbria. For once I was organised enough to take some photos during its creation. I hope they illustrate the processes I use.

Stage 1 - Start with a plain white canvas (this one is 20 x 30 inches) and add a very simple sketch. I’m using a brush dipped in very watery acrylic paint to draw perhaps a dozen lines that sketch out the main shapes.

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‘What’s your favourite colour’ is a naff question to ask a pop star or a politician, but ask the same question of an artist and you’ll get more than you bargained for. So here’s my list:

1. French Ultramarine. A pure colour, indispensable in anyone’s palette.
2. Burnt Sienna. A lovely warm brown, nearly orange when used on white canvas in thin washes.
3. Burnt Umber. A cooler brown, maybe not as lovely as Sienna, but so useful in mixes.
4. Alizarin Crimson. The prince of reds - a lovely dark, vibrant red, that’s essential in flesh tones
5. Cadmium Yellow. Pure yellowy goodness.
6. Pthalocyanine Turquoise. A new discovery for me, but great for blue skies when added to French Ultramarine.
7. Cobalt Blue. I’d like this colour more if it wasn’t so expensive!
8. Hookers Green. A deep transparent green.
9. Titanium White. Pure, snowy and covers the canvas like no other white
10. Cobalt Green. Another expensive cobalt but this one makes lovely, subtle greys when mixed with Alizarin Crimson.
11. Naples Yellow. A warm, cozy yellow, mix it with Alizarin and White for a glowing flesh tone.

Okay, I know that eleven pigments, but I’m an artist, not a mathematician.

A few days later and I’m still considering how to proceed with this painting (see my previous post). I think my approachwill be to create a predominantly abstract paintings, with elements of realism that will become apparent when the viewer gets in close. For inspiration and guidance and looking to English artists like Turner and Ivon Hitchens - Turner for his interpretation of light and Ivon Hitchens for his abstract mark-making and brushwork. Here’s some examples of what I mean:

Ivon Hitchens

In front of me is photo taken recently of a quarry in the Langdale Valley area of the English Lake District (Cumbria). I really, really want to develop it into a painting, the quality of the light (golden winter sunshine, glancing over the feathery trees) is so fantastic. I’ve posted a copy of the photograph alongside this post.

But how to go about it, where do I start? The photo is almost abstract, in that it lacks a focal point, and its uniqueness is due to its textures and colours, not its obvious composition, or strong shapes. Abstract light, texture and colours are very difficult to capture (that’s one reason why I admire abstract painters so much). I’ll need to analyse the picture and my reactions to it very carefully - looking for the elements of the picture that make it aethetically beautiful. I’ll have to spend an hour or so just looking and thinking about my approach to this painting.

Today, I’m not painting. Today I’ve got the house to tidy, pick the kids up from school and do the shopping. But I will be looking very hard today instead. I’ll look for still life compositions round the house, for interesting groups of parents in the school playground, and I’ll be enjoying the colours and shapes of the fruit and vegetables in the shops. And maybe tonight I’ll relax by listening to music and reading a book.

Oh, and of course, I’m updating my blog. 

So no, I’m not painting today. Does that mean I’m not doing anything creative?

I’m just back from a short break in the Lake District, and I’m full of inspiration for new paintings. When I got back, I googled the internet looking for examples of other contemporary painters work. Suprisingly, very little seems to show up. Suprisingly because the Lake District has been a huge inspiration for writers, and is so visually exciting I would imagine a plethora of artists would have made their art there.

Historically, I can think of a few painters with associations with the lake district: John Ruskin, A Heaton Cooper, W Heaton Cooper. Kurt Schwitters lived in Ambleside for several years (the Armitt museum in Ambleside has more information) and Lowry painted here, too.

But I can find very little information on modern artists whose work takes inspiration from the Lake District. Judy Boyes has a gallery in Elterwater and erm, that’s it as far as I can see. I’m sure there are more - and if you’re out there, let me know!