MID-DAY SUN VI, PART 2

 

Spending some time working on the doors helped bring this painting closer to completion. Mostly it was a case of slowly working along each plank adding subtle washes of color and creating interest with some details of the woodgrain etc. There was less of the original red paint left in this area due to the heavier weathering these doors got and I tried to keep the effect random, adding color where I thought would be best. A slightly darker wash was added to the lower part of the shadow on the left as I felt this was a bit too light and I slightly greyed the white strip as I felt it was a bit too bright. The two hinges were detailed along with their shadows, also some smaller cracks and splits were done in the ends of the wooden planks but tried to keep it all understated. I didn’t want to overwork the painting by adding too many details so after stepping back to take a long look, decided to leave it as it was for now. Later, I’ll take it out again and see if there is anything else to do, so far though I was happy with the result. In reflection, I think that perhaps the painting could have been a little more subtle if I had used watercolor instead of acrylic. Anyway, this is something to consider perhaps when I do more in this series. This one was painted on stretched Bockingford watercolor paper, 22 x 15 in, (56 x 38 cm).

MID-DAY SUN VI, PART 1

 

I have been painting in and around a nearby farm for quite some time now, sometimes spending the whole day there working on sketches and finished paintings. I remember that it was one of those places where so many subjects presented themselves that I had a difficulty choosing which one I would use for a painting. I was brought up on a farm and as such, in my paintings, I am often going back to my youth when I spent so much time in and around the various buildings, sheds and fields etc. I also spent many hours walking from one end to the other exploring the hedgerows and ditches for wildlife. I have always explored each subject deeply and have found that some of the finer details totally fascinate me. This is probably one of the reasons that I take my work a lot further than some. I think this is mainly because I want to capture those things I see that move me so much. Oftentimes, there will be an abstract element to the scene that initially attracts me and that was the case with this painting. This view is of the south side of what I have called the tractor barn (the smaller of the two barns) and although empty now, I imagined this would have been where all the farm vehicles and implements would have been kept. Initially painted a deep red, the wood has weathered to a dull grey finish with elements of the red paint still visible in some of the woodgrain and in more sheltered areas. The main openings had been trimmed with white and red, most of which still remains although this too is beginning to chip and fade. When I looked up to the corner where the opening begins its climb to the crown of the roof, I saw how the sun, now at its highest, had cast a deep shadow across the interior. This dark triangle excited me and I saw how the inverse shape was echoed in reverse below. The wall was covered with hanging implements including the strange clamp shown here. I would have to be careful while painting this as I felt it was an important element of the composition. Some of the wood above had split and warped, each casting their own shadows too. So all in all, a lot of fascinating details that I looked forward to working on. Since there was so much going on, I decided to use a larger sheet of paper for this one. My choice of medium would be acrylic. Since acrylic paint is impervious to water when dry, I felt it would stand up better to the many washes of color I would have to lay down to capture the scene in the way that I wanted. Here I used it like I would watercolor, building up the tones slowly and thinly until the final image emerged from the paper. So far, I have almost finished the left side of the painting. This part was to me of the utmost importance to get right to begin with. As it was the area of highest contrast, this was where the viewer’s eye would go to first. After a few day’s work, I was eventually happy with how that was going so I began laying in a few grey washes on the right side trying to get a balance of tones overall. I then made a start on some of the details above the shed door. Incidentally, part of this door appears in one of my earlier paintings, ‘Tool Shed’ done a few years ago. That painting was done from a similar viewpoint as this one although I was standing slightly further back and a little more to the right. Next I’ll finish off the door and add the final details.

CLIFFS AT SAGRES

 

First I would like to apologize for the lack of posts lately, I have started quite a few paintings but am only finishing off some of them now. This one was done during one of our trips to Portugal but I just added the final details last week. Mainly these were a subtle darkening of the sea and cliff faces in shadow along with the two small figures on the clifftop. I don't usually include figures in my landscapes since I want the viewer only to focus on the scene itself. They were necessary in this one though I think, to help show the size and scale of these towering cliffs. The hazy back-lit view seems to make then even more so. Very brave locals often fish from the top casting their lines down and into the surf below - rather them than me! Size is 12 x 8 in (30 x 20 cm), oil on canvas board.

PEREGRINE FALCON, PART 2

 

The other day, we were treated to another visit from the female peregrine. This time she stayed for over two and a half hours so plenty of time for me to be able to do this small watercolor head study above and some other drawings shown below.

This time, she was even closer as she had perched half way along the railing so was only about 4 feet away (1.2m) from the window. I was given wonderful views especially since she began a series of slightly squeaky 'wy-chit wy-chit wy-chit ' calls and bending forwards while slightly spreading her wings. I suspect the male was nearby as she often looked upwards but I couldn't see him from where I stood.

The top drawing above was one I managed of her while she was calling (with a few smaller details added later). The lower drawing was done when she had turned to face away from me - usually she faced inwards so it was nice to have a back view and to take note of her flight feathers.

With the bird being so close, I could easily make out all the details of her talons so decided to do a pencil study of them. She hardly moved for the 30 mins or so that it took me so I didn't have to start another one which often happens. She was ringed (one on her right leg, two on her left) but I left them off in my drawing. During the period she was resting outside, I spent so much time staring out of the window that I was sure she was aware of me but really, except for a few looks, didn't take any notice of me at all. Later, I was fortunate to see her leave. She called a few times, looked up then simply spread her wings and dropped off the railing. I quickly went outside hoping to see her in flight but she was already gone.

PEREGRINE FALCON

 

Since moving closer to the city, we have seen Peregrines around here quite often. As I have mentioned in a few of my earlier blog posts, they have mostly been seen flying past and occasionally roosting on the top of our building. After doing a bit of research, I found out that they breed nearby in the city and apparently, have done so for many years. There is even a website dedicated to them with 4 live webcams allowing excellent views of the birds which is especially important during nesting and the raising of their young. They can also be seen in and around the nearby rooftops. Anyway, a few weeks ago, I was lying in bed one morning and as it began to get light, I heard a Peregrine calling close by outside so I thought I had better get up and see if it was still about. Being that this bird is one of my favorite raptors, imagine my joy then when I discovered an adult female resting on our balcony and I immediately began doing sketches of her.

 

I assumed it was the resident falcon named Bridget and she remained for a few hours. Since then she has fortunately visited quite often, usually in the morning for a few hours, occasionally in the afternoon. Since we have been keeping the blinds closed to help block out the morning sun, we can still move around inside without disturbing her. At the closest point, she is only about 2 meters from the window although I usually watch her from slightly further away. If I slowly move the blind aside I can peer through the gap and draw for as long as I like. Mostly she remains completely calm, looking around, preening occasionally and even taking short naps! Of course, all this has meant that I have been able to get some fantastic reference material and have done quite a few sketches and drawings in my sketchbook, some of which are shown here. I’m sure I’ll get around to doing some color studies of her soon, but for now I am really enjoying her visits. I always feel a pang of regret when she leaves - it is as if the world has become a slightly lonelier place. All pencil studies done in my sketchbook, sizes are about 12 x 9 in (30 x 23cm) and 8 x 9 in (20 x 23cm).

TALLGRASS FIELD

 

The idea for this painting was simple, find an interesting view deep in a field somewhere. Fortunately there were quite a few places like this near where we used to live so I took my easel and set up looking slightly towards the east with a few trees nearby to keep me company. Since this one was quite small, the painting didn't take that long and after a period of reflection, I was quite pleased with the result. I had planned on doing a number of similar paintings like this one but like so many of my ideas, those plans fell by the wayside. I do have a few other paintings similar to this and now after having taken a fresh look at this one, will probably get to them and finish them off sometime soon. Size is 8 x 10 in (20 x 25 cm), oil on canvas.

THE ICELANDER - STUDY

 

This smaller study was for me unusually problematic inasmuch that it almost didn’t even get started. Almost all of my paintings begin with a detailed drawing, sometimes in my sketchbook, at other times on a separate sheet of watercolor paper. This I have found to be the best way for me when painting in watercolors or acrylics. Anyway, I had met this gentleman some time ago in Iceland and although we didn’t share a common language, I felt some deeper sense of affinity with him. His features and character made a great impact on me almost from the first time I met him and I asked if he would pose for me. Fortunately he said yes so I began to gather reference right there and then. My sketchbook studies done in pencil back then were a great disappointment and nothing seemed to work the way that I had hoped. So his portrait idea was shelved but over the years, I re-examined my drawings that I had done and more recently tried again. Unfortunately, it seemed that I still couldn’t get what I wanted although I used a better quality paper this time and tried drawing him from a few different angles. Eventually after becoming very frustrated, I decided that it just wasn’t going to work as a drawing and what I really needed to do was something in color! I grabbed a small sheet of paper that was lying around and after once again drawing out the head, began laying in washes and thin glazes. For some reason, I decided to use acrylic this time, perhaps because I felt that if there were any mistakes, I could mix up some opaque paint and cover them – something I hate doing! Fortunately I didn’t need to do that and after working on and off for a few days, I was eventually quite pleased with the results. Since I didn’t stretch the paper beforehand, the many thin washes buckled the paper quite severely which didn’t make my job any easier. And while I didn’t bring this painting to the level of finish I usually do, I still think it works well as a study and I certainly learnt a lot while doing it. Hopefully this and all my pencil studies will lead to a larger and slightly more refined work. Size is 9 x 12 in (23 x 30 cm), acrylic on paper.

LAKE REFLECTIONS

 

I started this northern lake painting with the idea of capturing the reflections of the sky in the water. I remember it was a warm day with passing clouds that continued to break up as the day went on so I had to work quickly with my initial color sketch putting down the basics of the scene and deciding how I would manage all the different areas. I liked the way that the cloud reflections were broken up in places by the lake plants and was glad that I decided to include them too. I just lightly indicated the sky above the horizon as I wanted this one to be more about the lake and the surrounding trees, most of which acted as a backdrop to the scene. I think the size of this one was 16 x 20 in (41 x 51 cm), oil on canvas.

AFTERNOON SKY, BLACKWATER

 

This is one of my older paintings so I'm not sure if I have posted it here before. Anyway, it was getting later in the day during an extended painting session at Blackwater when I saw these clouds drifting in over the water so I did a quick study there and then. Later back in the studio, I created this smallish painting working on the sky first since that was the whole reason for the painting. I tried to capture the effect of a still bright but lowering sun and its effects on the clouds. I especially liked how this created a highlight all around the edges of the upper clouds and since I was looking into the light, I kept the landscape relatively subdued. Size is 9 x 12 in (23 x 30 cm), oil on canvas.

EVENING SUNDOWN SERIES

 

This was probably the fist evening sundown scene I painted many years ago. I wanted to try and capture the light and feel of a particular day just as the light was fading from the sky. I set the scene nearby above a somewhat distant horizon along with the streaked clouds seen at that time. Surprisingly there was a little mist which I included in this study. This further helped create a little more depth. The foreground was a mass of young white pine trees and I kept the details there simplified so as not to detract from the sky. Surprisingly, I am still working on this series and currently have a few new ones on the go at the moment. Size is 9 x 12 in (23 x 30 cm), oil on canvas.

HARRIERS AT BLACKWATER

 

Whenever out in the field, I am always open to whatever sights, sounds or opportunities I experience. In this case I was painting a study looking across the water when two Northern Harriers appeared. Usually they are seen singly on migration or in winter so I was happy to see them flying in front of me. Later I decided to incorporate them into a painting. This oil is one of my medium-sized paintings and out of this, and the study I was working on at the time, came a much larger work. I think the size of this one was 18 x 24 in (46 x 61 cm), oil on canvas.

LAUGHING GULL STUDY

 

A few weeks ago there was a strong passage of adult Laughing Gulls through the area. Some of them were attracted to the nearby wetlands where I have been spending quite a bit of time gathering reference and observing the wildlife found there.  Amongst other studies, I managed to do this painting while one bird rested briefly before continuing on its journey. I have also been writing a weekly report on the things I see there which is now up to almost 14,000 words! Some days there is a lot to write about, others not so much and the place seems almost empty - especially during the hot summer months. It is always a rewarding experience visiting there though and I'm sure that later in the year, it will be a lot more exciting as migration starts up in earnest. Size of this one is 12 x 9 in (30 x 23 cm), watercolor on Grumbacher paper.

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.