Plein air painting 04
Painted in early September 2020 this boat undergoing restoration was pictured on a trailer after some rain. It the same boat yard that the tractor in the previous 'plien air' post No3, is to be found. Oil on board 12" x 9".
|Completed painting of the two bulls|
This scene features two Highland bulls enjoying the sunshine in the countryside. The location is just outside the town of Brockenhurst where a footpath meets Rhinefield Road. This is within the area of the very large New Forest, which can be found in the County of Hampshire on the south coast of the UK. The painting was done during July 2020 and is done in oils on mounting board, sized at 35.5cm x 20cm.
The artwork can be examined in better clarity on this external site.
|Comparing the digital rough art to the final oil painting|
I often use digital tools during the creation of my artwork. The amount can vary. For a full digital illustration it follows that the entire art will be created using computer technology, right from the blank canvas, through to the drawing and then the finished work. For original oil paintings created using traditional materials the subject may actually be worked out on a computer too. For instance the original photo reference of a scene may be imported in to photoshop and resized to a canvas (size/ proportions) to find the desired composition. Then elements may be altered within the scene like removing/ adding people, telegraph poles or different skies.
Sometimes a traditional painting may feature a subject that does not exist and so it has to be drawn up from scratch. Such was the case for this painting of the 'Mayflower' ship during rough seas in the North Atlantic, set during 1620. I did quite a lot of research in to what the ship looked like as apparently no-one actually knows. This means that the full size replicas built are based on typical ship building concepts of the time, so they are pretty accurate in general terms. Paintings of the scene produced during the past four centuries again show similar designs but the fine details vary between artists.
To produce my version of events I drew the ship on a computer (sketchbook pro) and then painted it digitally within the same programme as seen in the picture panel. This gave me the opportunity to find what colours to aim for and what type of atmosphere to try to get within the image. It took a few days to find a visual solution which would give something to aim for when I came to create the finished item, though it would be expected that the oil painting would not be a direct copy of the digital 'rough'. This is mainly to do with the way 'real' oil paint works when compared to the electronic equivalent, in the subtle ways colours are blended and certain brush strokes are emphasised, and just my own hand movements across the canvas. It should be noted that the physical painting is far, far larger than the equivitent digital image if printed out, so it should be noted that the picture above does not demonstrate that. Certainly working a painting out digitally beforehand works wells and creates a more direct approach.
The finished oil painting can be seen in detail on this link.
|Four stages of the oil painting in progress|
During September through to October 2019 this painting of the Mayflower, on its voyage to the new world in 1620, was created. It is an oil painting done on a canvas support sized at 24” x 36”.
The panel shows four stages of the
painting. In the first section can be seen the canvas covered with a
brown acrylic base, on top of which the drawing of the scene has been
down with a darker acrylic line. White acrylic paint has been applied
to show tonally lighter areas in the composition. Moving to the
second panel a diluted oil paint layer has now been applied. These
colours are applied thinly and give an indication of colour placement
and tone relevant to each other, even though overall the picture
looks (deliberately) dark. This acts as an underpainting so that when
a new layer is applied, using thicker paint, the underpainting acts
as a good support. The 3rd panel shows some 'proper'
painting applied with details,with the last panel showing the
finished painting. It should be pointed out that after the painting
layer has been applied, and once dry, a 'glaze' layer is sometimes
added in this case. This is like a semi transparent wash of colour
(mixed with clear oil) applied over elements in the painting to
emphasize colour qualities, for example adding hints of green to the
blue water to give added depth.
The painting can be seen in greater detail on this link.
The voyage of the Mayflower in 1620 is depicted in this oil painting. It is seen in stormy weather in the North Atlantic on its way to the New World, after leaving Plymouth with Pilgrims from Holland and England. It is a small cargo ship, about 100ft long and it would have been a rough journey for the passengers as it was not built for people. It was also quite cramped as the original plan was for a second ship, Speedwell, to have also undertook the journey but it was found that it was to be unseaworthy at Plymouth, so the Mayflower had to take the extra load. The journey took approximately 2 months.
The painting is created in oils on a 24” x 36” canvas during September/ October 2019. As no one actually knows what the ship looked like various pieces of reference were cobbled together to create the most version of the design. Composition wise the image was at first designed on a computer art program where the initial drawing was envisaged and then painted digitally to find a good combination of colours. Once a suitable solution had been found it was then redrawn on a canvas and painted in the traditional manner. It was intended for the painting to be displayed as part of the celebrations held for the event at the Southampton City gallery but the COVID19 pandemic meant that the exhibition did not take place as planned and was substituted by an online one.
The artwork can be view in close up by going to this site. XXXX
The panel above, split in to four sections shows different stages of the creation of this artwork. In the first one the scene has been drawn using brown acrylic paint on a light wash. On top of this lighter, tonal areas have been indicated in white, such as the sky. Following on the first layer of oil paint is applied quite lightly, and diluted with a thinner type solution. The colours applied are typically slightly darker, as this is the underpainting, but it gives a good indication of relative tonal and colour variations in the painting. One this level is dry then the final application of paint can be applied. This time the paint will be thicker and to true colour valuations. In addition the painting is a lot tighter on this pass with fine details painted in, as seen in the third panel. The last panel shows the completed painting. The work can be seen in better detail by following this link..
|Finished art of the ship docked at Mayflower Park|
|Creation of the Edwardian couple in WIP stages digital illustration|
the drawing has reached a satisfactory start, some rough colour ideas
are then painted in using the same software as seen in the second,
upper right panel. After this stage the time has come to do the
artwork ' correctly' as it needs to be far larger than the tablet can
cope with and more finely detailed. So the file, as PSD layers, is
exported in to a windows desktop machine also running Sketchbook pro,
the file enlarged considerably and the image painted over to a higher
degree, as shown in the 3rd panel.
In the 4th panel can be seen the final image, where there are subtle changes to the composition and some of the elements, like the woman's face and other details. The whole image can be seen in detail on this link.
|digital art of steam punk Edwardian couple escape.|
Created in June 2020 this digital illustration was produced in 'Sketchbook Pro' with final work done in photoshop. It can be seen in greater detail here.
|WIP stages of the horror illustration|
|Stages of the oil painting of St Pauls, in central London|
|Completed painting of strollers at Southampton Common art|
|Completed oil painting of St Pauls cathedral, London.|
|My illustration, and the photo of Avry by his teacher.|
|Stages of the painting featuring a part of Southampton Common.|
|Stages of creating this westerly viw of the graveyard at Southampton|
|Stages of painting the railway locomotive at rest|
|Painting of a 'Terrier' locomotive taking on water at Havant.|
|WIP stages of the figure in progress.|
|Finished oil painting of Julie Diaz|
|Stages of the digital artwork consisting of the gigantic railway locomotive.|
|Stages of a painting of a tree at the entrance to Southampton city common.|
|Finished artwork of a giganitic steam locomotive at a big city fantasy illustration|