Southampton Central railway station signal gantry1950's - oil painting

The end of the platform at Southampton central station (Hampshire) is shown in this oil painting, created during late 2021. It is based on a B/W photo taken by J Bailey that was taken at some point in the 1950's.
One dominant and famous feature of the station is the large semaphore signal gantry situated at the western end of the station, which was removed in 1981. A small Victorian build 0-4-4 tank locomotive is receiving water before continuing with its journey to Fawley, on a branch line, with the main line running to Weymouth in Dorset.
The painting is sized at 33” x 23” and dome on primed mounting board. It can be seen in greater detail on this link. 

Women Texting On Christchurch Station - acrylic painting

Women Texting On Christchurch Station - acrylic painting

Women Texting On Christchurch Station - acrylic painting

This acrylic painting was created during June 2018. It is sized at 16” x 12”, and done on stretched water-colour paper. The subject is a number of women, and one man, all busy texting while waiting for a train to turn up at the station. Christchurch, on the south coast of the UK, is the location of this brick built, Victorian station, set during a sunny but cold afternoon one December.

The finished painting can be seen in greater detail on this link.

Women texting on Christchurch station - WIP stages acrylic painting

Women texting on Christchurch station - WIP acrylic painting stages

stages of working on 'Women texting on Christchurch station' art

This painting was produced during June 2018, and shows passengers on a station awaiting a train. They are all busy texting while awaiting transportation during a sunny winters afternoon.

The panel shows four stages to the creation of the painting, which is sized at 16” x 12”, and painted on stretched water-colour paper. In the first panel the drawing is shown, done in brown acrylic paint. A wash with the same colour paint is applied to show the shadows. Unusually in this case I did not do a coloured 'ground' over the paper, normally a yellow ochre or red, but just kept the paper 'white'. In the second panel dark base colours are applied, to help establish positioning of colours and act as an under-painting layer for when future paint layers are added. The third panel shows progression on the details and layers of paint being built up to there intended tonal values, which it turn leads to the finished artwork as shown in the forth panel.

The painting can be seen in detail on this link.