COUNTRY FARM

 

This farm was quite close to where we used to live so I often went there to paint. Over the years, I must have done a lot of paintings of the buildings, the silos and the landscape all around the farm. This one was completed from a study done when sitting in my car one cold winter morning. Here, after snow had fallen, the slightly warmer temperatures aided by the sun has caused it to begin to melt allowing winter grasses to show through. The scene is back-lit which often brings about an interesting composition challenge. It was worth the struggle I went through to complete it though as I learned a lot during that time. I painted this one so long ago that I can't quite remember the size, I think it was done in oil on an 18 x 24 inch canvas (46 x 61 cm). The slide that this picture was scanned from is the only pictorial record I have of it and is not of a great quality but it will have to do.

HARRIER AT BLACKWATER

 

I have written in the past about my many visits to Blackwater National Wildlife Refuge near the eastern shore of Maryland and here is another painting from the area. I have probably completed more paintings of Blackwater than any other area I have been, difficult to describe in words but there is something about the place that really speaks to me as an artist. A view looking across the water gets me everytime, and this somewhat simplistic composition is one I return to time and time again. In this small watercolor, a female Norther Harrier flies over the marsh looking for prey, a scene I have witnessed many times. Size is 11 x 7.5 in (28 x 19 cm).

RED EAR

 

I sat at the waters edge and watched a terrapin slowly rise up from the bottom of a deep clear pond. It's head broke the surface and there it floated long enough for me to do a few sketches in my sketchbook. Later I did this watercolor. Since the water was so clear and the subject in bright sun, I could easily see all the details of the shell and feet which I made note of along with a few color descriptions. This was a fun painting to do - I don't usually say that as most of them are a real struggle especially if I don't have a clear idea in my head. I have found if I can first visualize the whole painting then I have a much better chance of creating something that I am happy with. Size is 15 x 11 in (38 x 28 cm).

ALONG THE ALGARVE VIII

 

I think with this painting, I came a little closer to what it is I wanted to say about the coastal rocks along the Algarve in Portugal. I spent a lot of time there wandering the beaches and coastline looking, sketching and trying to hold in my mind the character and atmosphere of the place. That it was beautiful was obvious but I tried to look beyond all that to some of the patterns and rhythms I could see. The rocks were staged naturally in this scene so I didn't have to do any creative editing that I sometimes do. The water was a lot calmer on that day too so there is only a little surf which seems to work better with this smaller collection of rocks. Size is 10 x 8 in (26 x 20 cm), oil on board.

THE WANDERER - YOUNG PEREGRINE FALCON

 

In this painting, my initial idea was to portray a young bird recently out of the nest and ready to begin life on its own. Not all first year birds will make it and this bird was based on such a bird that was found unable to fly properly. After rehab, it was then released back into the wild. Here the bird is looking out over a vast territory signifying the distance it has to go so I kept the background somewhat misty with just a hint of morning clouds higher up. I deliberately posed the bird facing slightly away so as to get a feel that it could take flight at any time. Size is 24 x 18 in (61 x 46 cm), oil on canvas.

BLUE ROCK THRUSH

 

One thing I always looked forward to when living in Hong Kong were the winter months. Not so much for the obvious reason that the weather would be cooler, but for the chance to see migrant birds with the possibility of rarities turning up. With many winter visitors, one bird that was always a welcome sight was the Blue Rock Thrush which was often seen while hiking around and exploring - especially along the shore of the out-lying islands. The bird shown here is the red-bellied race philippensis and was a favorite winter bird for me. Apparently a few pairs do stay to breed in Hong Kong and I have many fond memories trying to draw and paint these birds while out in the field. Size is 10 x 6 in (25 x 15 cm), watercolor on paper.

OLD STUMP

 

While out walking quite some time ago, I saw this weathered stump. It was all that was left after the main trunk had broken off (most probably during a powerful windstorm). The heartwood was almost entirely eaten away although some of the branches were still intact but since it was winter, I couldn't tell if any part was still alive. Anyway, I had started this study at that time but then it was put away while other newer paintings got their chance. Lately, I found it again while going through some of my folders so decided to finish it. In this one, I wanted to do a watercolor that looked like a watercolor - if you know what I mean. The goal for a lot of my paintings is for them to look real but also to look painted as opposed to looking like a photo. To me, this one looks like a painting and feels just right. Size is 15 x 11 in (38 x 28 cm).

HORNED GREBE STUDIES

 

We only see Horned Grebes in winter around here and by that time, the males have lost their spectacular breeding plumage. I usually find them around the shoreline diving in shallow water usually alone but sometimes up to 3 or more. I never have been able to get really close views of them as they are quite shy and always swim away as I approach. At times, I have sat quietly near the shore and have watched them diving relatively closely - close enough at least to see the unusual red eye with the tiny yellow-ringed pupil that these birds have.

The Horned Grebe is known as Slavonian Grebe in Europe and in the above painting, this is the view I usually get of them! I do enjoy the pattern on the back of the head though so thought I'd do an illustration of that feature. I have been working on a series of illustrations lately so that is what I'll be posting for a while. Don't worry though, I'll get back to some 'serious' painting soon. Both these watercolors were done on a 9 x 12" sheet of Grumbacher paper.

SPRING IN THE CITY

 

Before I get to my latest painting, I have noticed that this blog has been getting a lot of visits from people all over the world so I want to thank each and everyone of you. I hope you enjoy what you find and that you come back often!

Now that winter is a distant memory (or perhaps not so distant), weather has been warmer which has allowed my to explore a little of the area we now live in. On a warm cloudless day a week or so ago, we walked into the city taking note of interesting places to come back to. One was this building situated on the end of a block with a wonderful facade. I noted it was built with a pleasing combination of large red stone blocks and matching red brick. There were sculpted columns and gable head along with dragon head gargoyles! Beautifully arched windows finished off the front while the roof had decorative tiles and copper flashing. Most of these details continued along the longer side. I wanted to contrast the roof of the building with the deep blue sky behind and to include some of the trees newly in leaf. I often do a smaller study such as this mostly to see if it would be worth doing a larger painting. Size is 10 x 8 in (25 x 20 cm), oil on canvas board.

SANDERLING AT REST

 

Walking along the shore, I would often come across scenes like this. Sanderlings, either singly or in a group would run back and forth as the water surged and ebbed probing frantically with their bills in a sewing machine fashion. Then after feeding, a period of rest often followed where the birds would move higher up on the beach usually well away from the water and rest, occasionally preening. These times were the perfect opportunity for me to sit and draw them while they remained relatively still. This painting came from those studies. Here a single bird rests on one leg facing onto the wind in a pose that I hope captures something of its character. Size is 12 x 9 in (30 x 23 cm), watercolor on Strathmore paper.

ABANDONED

 

Now that I have my collection of ink pens at hand, I began thinking of doing something a little more complex and settled on this scene. I did a watercolor of this abandoned house that I saw on Lantau Island in Hong Kong some time ago and was pleased with the result. For this one I kept the composition a little simpler and tried to use the light and shadow to greater effect. The black areas were brushed in using ink then I began cross-hatching for the lighter areas. Details were either drawn in or stippled with various dots and dashes and for this I used a 0.8 mm pen. Size of this one is 11 x 8 in (28 x 20 cm), ink on paper.

ALONG THE ALGARVE VII

 

This was another of a series of paintings I did during our trip to the Algarve a few years ago. Like most of those studies, I kept it small. This one was more as an experiment to see if I would be able to capture something of what I saw on a bright but slightly overcast day. The rock formations of the area especially had really captured my artists' eye. In this backlit scene, it was mostly the color of the water that first attracted me to paint. During my first attempt, the water had somewhat eluded me so I recently repainted the sea and with a few other touch-ups here and there, I was finally happy with it. Size is 5 x 7 in (13 x 18cm), oil on canvas board.

YOUNG BALD EAGLE STUDY

 

Wanting to do a painting for a frame that I had lying around, I chose this portrait of a young Bald Eagle as my subject. Since the image would be quite small, I decided to concentrate on the head and shoulders of the bird. Using a smooth paper, I built up a series of washes for the background then started on the head. Usually I paint in the eyes first. If I can get these to look right, the rest of the painting follows along nicely (mostly)! I then continued onto the beak and finally the rather intricate plumage. Nearly all the head feathers were pale tipped so I tried to capture this feature in my painting. Finally after quite a lot of work, I felt that I had captured the essence of this very impressive bird and declared the work finished. Size is 7 x 5 in (18 x 13 cm), watercolor on Arches hot-pressed paper.

GREAT GREY OWL

 

Occasionally I like to try and keep up with my drawing skills - one way of doing this is using pen and ink. Obviously any mistakes will be clear to see so one has to concentrate quite acutely. I usually do a rough pencil sketch first then if all looks good, continue to fill in the details etc with ink. I used to do a lot of these types of illustrations and they have appeared in many books, magazines and bird reports etc. When successful, I get a very warm and satisfied feeling from looking at them. Now that I have all my studio equipment including my collection of ink pens out of storage, I'm sure I will do more of these. This one was done with an ultra fine point Sharpie which has permanent ink. Size is 8 x 5 inches (20 x 13 cm). 

EVENING OVER A NORTHERN LAKE - STUDY

 

During a trip to the Adirondacks in upstate New York some time ago, I took a dip in this lake while the sun set over the distant treeline. I was captivated by both the quality of the clear evening light and the mood of the scene as evening drew in. Mentally composing a painting in my mind, I did a study a little later on then when I arrived home again, I painted a larger watercolor of the same scene which worked out well. This little study has held a special place in my heart bringing back many fond memories of that trip and the paintings I did there. I'll probably use this one again as the basis for a larger oil but perhaps modifying the sky slightly more. Size is 4.5 x 6.5 in (12 x 17 cm), watercolor on paper.

THE BREAKING SEA

 

I'm reposting this Hong Kong coastal painting from a few years ago. Recently I came across it in a box with a few others and after taking a hard look at it, decided that the painting needed a little more work. I felt that the sea needed most attention so this is where I started first. Mostly I wanted a little more movement to the surf so I spent most of the time there. When I was pleased with the balance between the waves and the foam, I lightly defined some of the rocks here and there until I was finally happy with them as well. Often it is the case with many of my paintings, my eye is better able to discern if anything else should be done to the work after it has been put away for a while. Now it is ready for varnishing and framing. Size is 8 x 10 inches (20 x 25cm), oil on canvas board. 

QUIMBY BRIDGE SERIES 1

 

While staying in southern Virginia near the Eastern Shore many years ago, I would often visit Quimby Bridge especially in the evening to watch the sun set over the water. This view was one of many that I chose to paint working mostly in watercolor for initial sketches. Larger works were then composed, done in both watercolor and oil - my largest 30 x 40 inches. I can't say for sure that all these were as successful as I would have liked but were an important past of my artistic development. These works set the basis for a number of similar painting using color and mood. The idea of which I am still working on today. This watercolor is 11 x 14 in (28 x 36 cm).

PEREGRINE AT TOLO HARBOUR

 

Another of my older paintings which I did quite some time ago. In an earlier blog, I mentioned that the area around Plover Cove where I was living at the time had inspired me to do many paintings there, both in watercolor and in oil. This is one of my larger oils. The idea came from a Peregrine Falcon I saw while out exploring Tolo Harbor one afternoon. It had alighted not far from me on rocks near the shoreline so I carried the idea forward to my painting. In this work, I tried to capture not just the characteristics of the bird but also that of the misty landscape typical of the area. There were not usually a lot of birds to be seen there and I can’t say that I saw Peregrines that often but the few I did see were always exceptional and excitedly observed both through my binoculars and when possible, through my telescope. I would then have at least a chance of doing some studies of them in one of my sketchbooks that I always took with me. These studies were then used along with my memory to reconstruct the experience of seeing a peregrine in the wild – all the while hoping to capture something of what I felt when I first observed it.

The close up shows a little more of the bird's details. Size of the full painting is 30 x 40 in (76 x 102 cm), oil on canvas.

EVENING CLOUDS OVER TOLO HARBOR

 

Most evenings after I had finished with painting for the day, I would grab my bike and cycle around Plover Cove and out to Tolo Harbor where I would sit and watch the evening draw in. This area was a inspiration for a lot of my paintings, this one was done after watching clouds gather one evening. The clouds and warm sky colors were reflected in the water harmonizing the whole work and the resulting painting has been a favorite of mine. Size is 16 x 20 in (40 x 46cm), oil on canvas.

DOORS

 

One thing that I loved about Hong Kong was the constant contrast between the old and the new. While I did enjoy the modern city, I preferred to wander through quiet woodland, over grassy hills and through abandoned villages. Fortunately I did quite a lot of studies of these places while I was there as most of them have either been developed or have returned to nature. I still make it a point to visit some of the old places that are still accessible whenever I visit Hong Kong and am always rewarded by a wealth of subjects. These old doors were found in a village not far from where I lived on Lamma Island. A few studies of these and other doors were done at that time and I might return to this subject one day. Size of the painting is 24 x 36 in (61 x 92cm), acrylic on board.