Famous the world over for its light and huge variety of painterly subjects, I’ve spent two days mainly plein air painting in North Norfolk with John Hoar around Brancaster Staithe and Burnham Overy Staithe. Here are the (mixed) results. It’s an inspiring place to paint.
I haven’t painted in acrylic for a while so here are two studies of the Poolbeg Chimneys or Stack as they are colloquially known, Dublin Port. One is of an evening flight heading to the airport and the other a colourful dawn.
There seems to be an autumnal theme in my current paintings. Maybe because we here in the UK have had a unusually warm and sunny summer, I’m driven to think of the beauty of the sudden cooler days and gradual changes of the leaves to vibrant russets, reds and oranges. Anyway, this scene is of the Welsh/Shropshire border near where my oldest and dear friend Mike lives. We went walking here in June.
I’m enjoying line and wash at the moment. I like doing scratchy trees so here’s a russet coloured autumn day of wind and showers. I do like the autumn.
Sometimes I like to use a bamboo and matchstick ‘pen’ with Indian ink to create a picture to be then painted with watercolour. A matchstick is much better than a commercially bought pen because if you sharpen it into a wedge you can get both fine and thick lines and you can add texture by shading.
Here’s a picture of Clifton Suspension Bridge, Bristol UK using this method.
Here are two quickly painted scenes- by quickly I mean as bold as I can, first wash quickly and confidently applied. Two very different days; a broody, cloudy, showery and windy day for the Windmill at Rye, East Sussex and a bright, clear day with the odd threat of a shower at St John’s Point, Donegal.,
Here is a bamboo and matchstick drawing with watercolour of the rebuilt bridge at Mostar, Bosnia Herzegovina. The original bridge was destroyed on 9 November 1993 during the Bosnian war. The new bridge was opened in 2004. The picture was inspired by a recent trip made by a friend who posted pictures on Facebook. It is also closely modelled on a painting by my mentor John Hoar.