I just thought I’d add a little gallery of paintings that I’ve made over the past few months. Eventually these will make their way on to my main website, but in the meantime I hope you will enjoy looking at them here.
If you are interested in any particular work, please use the details on my Contact page to get in touch. Some of these paintings have already been sold, but I am always happy to paint something not the same but similar. I also sometimes have A4 sized prints available.
Well not quite on the waves, but painting them anyway! A couple of days ago I was at Castor and Ailsworth Society of Art, not far from Peterborough. It was an evening demonstration and I was looking for a slightly different type of subject to my usual landscape as I’d been to several Peterborough societies before and didn’t want to repeat myself.
As luck would have it, I’d recently been asked to do a watercolour of a Thames barge, as a gift for some friends, so I thought that this might be an interesting subject to demonstrate. I began by planning the painting, using my favourite method of a large charcoal sketch. My photo that I was using as reference was just a close-up of one barge, so I added a couple of others in the distance to give the composition more balance and to add interest. The sky in the reference photo was also clear blue and as you can see, I changed that too!
After the sketch was completed I then had to try and retain the composition and the tonal values in my watercolour painting. I used a very limited palette of colours, with Ultramarine Blue, Burnt Sienna and a touch of Raw Sienna. It can be a little tricky trying to paint and talk at the same time, and I might have liked to bring the dark clouds even lower, but overall I was pleased with the painting.
Margaret and I were warmly welcomed at Castor and we really enjoyed our evening in this charming village. Hopefully we’ll see everyone again at some point in the future. Happy painting!
Just before Easter I was at Clare in Suffolk for a pen and wash demonstration evening. I’ve been to Clare Art Club before but not for a long time. A very friendly group, it was good to be back!
I always enjoy the challenge of demonstrating in pen and wash. It’s a little tricky because the medium works best at a fairly small size, whereas art clun demonstration pieces are usually quite large, so that people can properly see them. I did this painting on a half-imperial sheet of Waterford NOT surface paper with a weight of 140lb or 300gsm. When I’m outside sketching in pen and wash I usually have a spiral-bound Bockingford sketchbook, about A4 in size.
I chose a scene of an old Norfolk barn, not too far from my Dersingham studio. I sketched it in ink, using an Edding 1800 series pen, with an 0.7 tip. You can see the ink sketch here, although this one I did earlier in the day in my studio. You can’t have too much practice!
Sketching the subject occupied me until the coffee break, after which I got busy with my paints. I used a simple palette of French Ultramarine Blue, Burnt Sienna, Raw Sienna, and Cadmium Yellow Pale. For the roof of the barn I used a mixture of Brown Madder with a tiny touch of Ultramarine, as I wanted it to contrast with the rest of the barn. All these paints were Winsor and Newton artists quality. I used a 3/4 inch flat brush for muck of the work, only dropping down to a number 8 round for some of the more detailed areas. If in doubt, use the biggest brush you feel comfortable with, it keeps your work feeling fresh and free.
Total working time was about half an hour or so with the pen and the same with the painting. Pen and wash should be a quick, lively medium. A very enjoyable evening and a big thank you to Clare Art Club for making Margaret and myself so welcome. See you again in the future!
Is there anywhere in Norfolk more painted than Cley Mill? Maybe not, although Burnham Overy Mill must run it a close second. However, apart from a few pen and wash demonstrations, it’s years since I last made a painting of this iconic landmark.
The opportunity to remedy that came last week, when I visited Spalding Art and Crafts Society for a watercolour demonstration evening. I wanted to choose a subject which would show the beauty of a simple watercolour, painted in a very limited palette of colours, and Cley Windmill fitted the bill perfectly. I kept the composition simple but made sure that the mill and buildings made a good statement against the sky. Don’t be afraid to use strong tonal contrasts in a subject like this, from white to almost black.
My palette of colours was simple in the extreme. Just two, one blue and one red. I used French Ultramarine for my blue and Brown Madder for my red, but a similar effect could be obtained by using Cobalt Blue and either Light Red or Burnt Sienna. But I like Brown Madder as it makes nice, slightly purple, darks when mixed with Ultramarine, and it can be varied from pale pink to reddish-brown by using more or less water with it.
The Spalding group were lovely people to paint for and it was a very enjoyable evening. When I got home, well after a few days actually, I looked again at the painting and decided the tower of the mill needed a little more fine tuning as it was looking a bit lop-sided. Often, it’s only when looking at a painting with fresh eyes that I can spot something that just needs a small adjustment. For that reason, I’m never in too much of a hurry to sign and frame a work, but prefer to look at it for a few days. However, there is a danger in this – fiddling! Only do what you feel to be essential, then put the brushes down.
I was pleased with the finished painting and will be showing it in the West Norfolk Artists Association spring exhibition, which is coming up soon. Thornham Village Hall, from Friday until Monday of the Easter holiday. 10am – 5pm on each of the four days. Do try and call in, if you’re in the area!
Just over a week ago I took part in the Dersingham Art Trail, where fourteen village artists opened their studios to the public. Margaret and I enjoyed welcoming over fifty visitors during the weekend, one being our good friend Pauline McSherry, who just couldn’t resist adding to her collection of my paintings. Thank you Pauline!
Here you see the watercolour hanging in its new home. As Pauline herself so kindly said “thank you for the pleasure your painting gives. Money well spent!”
The West Norfolk Artists Association are holding a week long exhibition in the Fermoy Gallery, King’s Lynn Arts Centre, King St, King’s Lynn. It opens with a Private View between 12noon and 2pm this coming Saturday 4th November and continues every day until Saturday 11th. Opening hours 10am – 4pm each day.
There are about 80 works on show, one of which is my painting of The Wash from Green Bank, Ringstead, which you can see here. You will be very welcome at the Private View or any other time during the run of the exhibition. Margaret and I will be at the PV and will also be on duty during the afternoon of Sunday 5th, from 1pm until 4. Do pop in if you’re in the area.
If you’re not sure where the gallery is located, it is behind the Guildhall in King Street. There is a large archway which you can walk through into a courtyard and the gallery is right down the courtyard on the right, just before the Riverside Rooms restaurant. There will be some West Norfolk Artists Association signs about.
Look forward to seeing you if you can make it, but if not, don’t forget the Dersingham Art Trail on the weekend of 25th and 26th November. Fourteen artists are taking part, at nine locations, and my own studio will be open.
Those of you who know my work will know that I love those wide open spaces in the landscape. The beach, the fields, and of course the sky! Here are a couple of recent watercolour paintings that certainly have that theme. These, and more, will be on show in my studio for the Dersingham Art Trail event on the weekend of 25th and 26th November. Not only my own studio but eight others will be open around the village. You can find details and a map of studios on the Trail website dersinghamarttrail.org
It’s been a couple of years or more since I last visited Horncastle Art Group, but I had the pleasure of returning there on Friday 7th July. When I last visited the group I demonstrated a couple of paintings in the style of Edward Seago, but this time my brief was pen and wash.
Pen and wash is a medium that is always a pleasure to work in and is particularly suited to scenes that have buildings, boats and generally things going on. I chose for my demonstration a view of Burnham Overy Staithe, up on the North Norfolk coast.
At Burnham Overy there is a large building right down by the water, which was obviously a store of some sort in the days when Burnham Overy was a working port. Nowadays it’s mainly used for recreational sailing and the building houses one or two small shops, although their occupancy seems to be rather erratic. Still, it’s a splendid looking structure, particularly with the other buildings of the village in the background and some boats drawn up on the foreshore.
I drew the scene out using one of my permanent ink pens, such as Edding or Faber-Castell. I like to use one with a fairly large nib, about 0.7 but this is purely personal preference. Even an 0.7 fibre nib is actually quite small, so the drawing took about 45 minutes, because in the early stages it’s important to get the size and proportions looking right. When doing the drawing I go straight in with the pen with no preliminary pencil work at all, but that does take a bit of practice before you gain the confidence to do that.
Once I’d done as much pen work as I felt necessary, and had a refreshing cup of coffee, I applied some simple watercolour washes, trying to keep things nice and free to contrast with the fairly tight drawing of the main building. The colours I used were all MaimeriBlu watercolours, and I selected one blue, Ultramarine Light, two reds, Burnt Sienna and Venetian Red, and two yellows, Raw Sienna and Primary Yellow. It didn’t take long to apply the washes, using a number 8 round sable-synthetic brush for the buildings and boats and a couple of fairly large squirrel hair wash brushes for the foreground and sky. When working in pen and wash I often leave the sky until the end of the painting, particularly if I’m working outside on location. Why, because if you paint the sky in first you will have a large area of the painting wet, which can make working awkward. No hairdryers out in the field, although I suppose you could have a gas powered one!
The group asked plenty of interesting questions and it was a real pleasure to visit them again, with Margaret and me feeling very welcomed. Thank you Horncastle, see you again in the future I hope.
All painters must go to Venice! It is the one city that, more than any other that I’ve visited, encapsulates the glory of times gone by, but is still a vibrant and exciting place. To arrive at the bus or train station and to see the Grand Canal straight before you sets the watercolour pulse racing!
Margaret and I spent a week in Venice during April and, although I had very little time for sketching, as we were with a group, I did take nearly 300 photographs. On my return to the studio I soon got busy with my brushes and you can see some of the results here.
All the paintings are made with a very limited palette of colours. Venice Dawn uses just two, MaimeriBlu Berlin Blue and Orange Lake, with a little bit of blue gouache on the gondolas. The other two paintings used a more muted palette of Cobalt Blue Light and Venetian Red. There are some small areas where I combined Raw Sienna with Venetian Red, and the red highlights on the gondolas were made with Cadmium Red Light. The greenish tinge of the canals is made from Cobalt Blue Light and Raw Sienna, with a touch of Primary Yellow. These are all MaimeriBlu colours. In all the paintings I used a few flicks of white gouache for highlights.
In all three of these paintings about 90% is done with just the main two or three colours, described above. Keeping to a limited palette gives a great feeling of simplicity, harmony and unity to the painting, so it’s always my preferred method of working. I’ll show you some more new paintings soon!
It’s been a little while since I posted anything from my art club travels, but yesterday morning I was at the Quaker Hall in Beccles, just over the Suffolk border from Nelson’s county of Norfolk. I was invited to give a watercolour demonstration by the Beccles SAA Group, who are a lovely group of artists who meet twice a month on a Thursday morning.
Being on the Norfolk and Suffolk border my thoughts naturally turned to that great artist Edward Seago, who had his home in Ludham, not a million miles away. There is so much to learn from someone of his calibre, and although Seago is perhaps best known for his paintings in oils, I think his mastery of watercolour was almost second to none.
As my demonstration piece I chose a view of a fishing village on the Norfolk coast. I didn’t attempt to make a direct copy of Seago’s original, but simplified the sky to make the painting a bit quicker to do. I worked the sky wet into wet, using MaimeriBlu watercolours Ultramarine Light, Raw Sienna, and Venetian Red. Seago’s original sky, well at least the version I’ve seen, was built up in layers of wet paint on dry paper, which means allowing drying time in between each layer of paint.
Once the sky was on, a few simple washes in the foreground and a little bit of detail on the cottages and boats completed the picture. Actually, it completed it so swiftly that I had a bit of free time in which to just quickly show a few simple pen and wash techniques, using a permanent ink pen and the same three colours I’d used earlier. I did a little bit of pen work to start with using my Staedler 0.7 permanent black pen, then added some very simple washes with a 3/4 inch flat brush. A sketch in every sense of the word, taking around 15 minutes, just as if I was working outside.
The Beccles group made Margaret and myself very welcome and we both look forward to seeing you again at some point in the future. Happy Painting!