paintings prints and stuff

South Stack, near Holyhead, A3 pastel plein air  This is at the framers at the moment,  in preparation for an exhibition, along with lots of other work from the week painting in Wales.  It will be going in a lime washed frame. Vivid memories of a lovely day sketching on the cliff with friends somewhere near, doing their own views - that's a steep drop down via the path and then another steep cliff edge.  One friend was working down there, another much higher up looking way down at the lighthouse (just out of sight on the right).  What did we do before we had mobile phones?  so easy to coordinate coffee breaks and moving on when we spread out and aren't near each other. I used a sheet of Sennelier sanded paper for this and the Rembrandt and Inscribe pastels I'd thrown in at the last moment.  Oh dear, I did NOT like the Sennelier paper - luckily I'd swapped a sheet with a friend as she didn't like it and I got to try it without having to buy a ...

Ogwen Valley and the little river Ogwen winding through, watercolour/mixed media The Ogwen valley, watercolour and mixed media sketch I'm just back from a week painting in Wales with friends.  Wales + mountains means we knew there would be rain - but it made for some lovely atmospheric scenes to sketch. Friend Ros, that I travelled with, and I stopped on the way in a beautiful valley I last saw about 20 years ago when my daughter was at Bangor university,  I was determined to get there to paint again.  Nigel another member of the group met up with us there and we all got thoroughly wet and bedraggled sketching. The end of the valley was lost in rain/mist and the little river Ogwen tumbles through the valley from Llyn Ogwen (Lake Ogwen) above.  The narrow, single track road goes up and down like a switchback along the side of the mountain.  The waterfalls were beautiful with all the rain we've had.  Welsh black mountain cattle ambled by, with h...

Sketch in acrylic ink, tinted graphite and a touch of coloured pencil I currently have all my classes looking at trees at the moment - considering the individuality of them, looking at various artists past and contemporary.  Contemporary includes some friends and also artists I don't know but admire , these include Bridget Hunter. Glen Heath, David Parfitt, David Prentice, David Tress, Kurt Jackson, Shirley Trevena, Cheryl Culver and lots more. I don't have time to add links, sorry,  but google them if you are interested?  Past includes Mondrian, Klimt, Van Gogh, Monet etc etc etc  I really like Mondrian's trees and Klimt too. There was a page in a sketchbook where I had experimented with tinted graphite, doing a moody image of rain approaching across the bay.  It was just a tester and was quite boring.  I decided to work over it, keeping it as background and working in grey and white acrylic ink (plus a little more tinted graphite and a touch of co...

2 studies from the clifftop between Hells Mouth and Portreath in different light, watercolour/mixed media in S&B Delta sketchbook I do love the changing light and the different colours and moods.   I could paint along here again and again through the seasons and each image would be different.   Flowers, sea colour, skies always new. There was a massive cliff fall at Hells Mouth that I didn't know about until I got home - thankfully!   Video here - do watch, it gives an idea of the scale and drama.  I ended up mostly using my watercolours on this trip for some reason, though I had taken oils and used them  a little.  I made the decision early on to mainly work in the S&B sketchbook and fill it, which I did : >)  rather than try to complete larger works in changing light.   I can work from these sketches at home to produce the larger works, with time to consider format/medium etc at leisure. Already I'm ...

 Swithland Woods, detail.  Inktense, coloured pencil and a little ink  I sketched for a short while in Swithland Woods yesterday.   I'd taken my Inktense pencils - and lovely as they are I really really felt the need for oil paints to cope with dappled light and the ability to put back light over dark.  I'll have to get back there with my oils. Swithland Woods, S&B Beta A4 sketchbook, unfinished The sketch is unfinished because the background leaves got overworked and fussy as I tried to get the deep shade and brightly lit flashes of sunlit leaves - and the light changed dramatically, making the trees that had interesting light on them a few minutes before, simply silhouettes.  It would have spread further over onto the right hand page.   Woods are rather like seascapes though, where you have to work fast .  Oil paint would have let me do it in the time and with simple direct marks.  Pencil is so much slower even ...

Bamburgh Castle from the dunes.   Watercolour and mixed media in Stillman and Birn Delta sketchbook Another sketch from the break in Northumbria.   The view of Bamburgh castle from the dunes is great - it is huge , looming silhouetted on its headland above the sweeping beach. The textures of the marram grass, thistles and other plants interested me equally.  Working fast was essential  as we only had limited time up there.  To get the textures, the luminosity of the sea and sky and the looming power of the castle, I ended up using watercolours, a little grey ink, a little gouache, conte pencil, white acrylic ink and some coloured pencil. The first (very quick) sketch was from lower down and further back in the dunes, done where I parked the car, and done using grey ink and charcoal.  I used twigs to draw with the ink - it gives a lovely range of marks that are freer and looser than pens.  And they are free : >) Bamburgh cas...

Spring at Hartshill Hayes, watercolour and mixed media in Stillman & Birn A4 Beta Hardback sketchbook The family went off walking through the bluebell woods. which are looking absolutely gorgeous at the moment,   I sat at the top of the steep hill sketching.   Spring - a month late - is finally here and we had a few beautiful days.  It was warm and a bank holiday, bringing out lots of walkers, picknickers and those just wanting to sit in the sunshine - I left them out as it's the landscape that interests me. I used watercolour, coloured pencil, conte pencil, Derwent sienna drawing pencil, white Daler Rowney acrylic ink, touch of gouache .......and the kitchen sink! I have a few bottles of the FW acrylic ink and really like it but hadn't bought the white.   I asked one of my students how opaq.ue it is - I think he has the full set - and he said very .  So I ordered one - and it is :>)/   Just what I needed.  Even white ...

Winter fields. watercolour and mixed media in A4 Stillman and Birn Beta hardback sketchbook details: The snow has gone and I wanted to catch that cool winter light, with the faintest hint of the sap rising and the colour starting to appear in the twigs at the tips of the branches.  Soon they will develop that luminious, almost apricot glow they get in early spring. Done with watercolour, tinted charcoal and a little pastel pencil - Winsor and Newton paints and Derwent pencils.   Derwent have some lovely chunky tinted charcoal blocks out, that I haven't been able to talk about before their launch.   I used them here and in in some of the branches in the last sketches of the hedges, alongside the tinted charcoal pencils.  They are absolutely gorgeous!   More work in them will follow : >) I am absolutely loving the S&B hardback Beta sketchbook.   The paper is incredibly robust and takes any medium I've thrown at it ...

 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...

Painting from memory; a fabulous late afternoon with fresh snowfall, low sun throwing apricot through and bouncing off the dark clouds and the snow. I stopped on the way home to look at the gorgeous light on the landscape.  The furrows and tyre tracks in the ploughed field made a beautiful pattern on the hillside, with smooth snow n the adjacent field. The low sun threw apricot light on the snow and shone through the dark clouds. It didn't last long.   By the time I'd driven for maybe 5 minutes it was gone, the sky was all dark clouds or grey.  So this is from memories.  I did take some photos but didn't get them out when doing this and the previous one, I started it off in the Pen and Ink app The image was then imported into Sketch Club and I painted it on a layer below with some final touches on a layer above the 'pen' sketch. I like this ability to use layers - it replicated using a watercolour wash over a pen sketch and then using a little...

Travelling home in the late afternoon the light was beautiful. The pattern of ridges and tyre marks in a ploughed field made sweeping patterns, defining the form of the land. The low sun reflected apricot colours on clouds and snow. And then a flock of birds took off from the field, making a beautiful moment even more special. I have to do some paintings from this, but for now I've just had time to do some sketches on the iPad. This is a test post from the iPad so I'm hoping it works ok.

Tangled undergrowth, a sketch done with the Sketch Club app on an ipad This App was highly recommended to me and I'm so glad.  It has all sorts of features that I want - the ability to use layers, to import images done in other apps, layer options much like Photoshop, a good range of marks including some of Mr Doobs , (a free online app that you can use on a pc) and more.  It really is a very versatile one.  There are good options on resolution and file types.  It's extremely easy to use, very intuitive. The ability to work onto images done in other apps (or of course your photos) extends the creative possibilities enormously. Below is an experiment with drawing in lettering, not a great drawing but it demonstrates the fluidity with which the writing moves.  This has lots of potential in images and design.  I input the words happy birthday and then simply treated the text like line, to draw the flowers .  They repeat endlessly.  Cool?...

Demonstrating Artbars at the NEC (techniques: washes, scratching through, drawing through wet paper, splattering and scratching flecks in a wet wash using the spritzer) I had a fascinating time at the NEC, demonstrating Artbars for Derwent.  The idea was that I would sit at a table using them in small images, showing the different techniques that could be used with them - subtle washes, wet in wet, lifting colour from the crayons. layering and scratching through, splattering etc etc  etc.   They have a really rich and varied range of mark making potential. I combined them at times with a little Inktense pencil or scrapes of inktense to create flecks of colour that would stay in place while I washed more colour of Artbar over them. Scarily, at the last minute Derwent were offered a 30 minute slot each day in a 'theatre' where I did a demo to an audience, complete with cameras, big screens and a microphone.    Scary !!!  Luckily the cameram...

Watercolour and coloured pencil, approx 7.5 x 9.5 ins This one was done yesterday as a class demo.   Last week we'd looked at how various artists handled trees and undergrowth.   This week we looked at the sketchbooks of John Blockley, David Hockney, Kurt Jackson and David Prentice, also the line and wash work that Sue Lewington does. Then they wanted a demo of birches to see how I worked and discuss methods, order, techniques etc. It was done straight into watercolour, no preliminary drawing with pencil, with a mix of White Nights and W&N artists pans , on heavy watercolour paper, type unknown as it was donated by one of the class.  There are slight touches of watercolour pencils in there too. There has been a lot of this sort of light on my journey to and from work lately - brooding skies ahead but sunlight where I am, making the landscape glow.  This particular section is on a highish plateau - the countryside isn't actually this flat roun...