Time seems to have gone by so quickly this year. It’s now only just over a week until the Closer to the Art show at Stone Railway Station in Stone, Staffordshire on 25th October. Around ten artists from various disciplines will be exhibiting including sculpture painting, illustration, photography and ceramics. A great opportunity to pick up a unique Christmas gift.
Ade Turner – Closer to the Art
And over the past weeks I’ve been busy painting, framing and generally getting everything ready. That’s me over there, posing for a publicity photo and frankly feeling a little uncomfortable – physically and psychologically! My wife too has been working on some beading and needlecrafts, but more of those in a future post.
This is my first show as an exhibitor, so with no previous experience to fall back on I’m going to be relying on educated guesswork. How much packing do I need? How do I display the work to best advantage? What is the worst thing I could forget to take on the day?
It’s all very exciting, and as with anything new, just a little scary too.
During the last week of our June holiday the weather settled down, becoming bright, sunny and pleasantly warm. On one gorgeous early evening, the light was magical over the cliffs of Housel Bay looking west towards the Lizard lighthouse in Cornwall. I had to paint it.
Back home I decided to take my watercolour sketch and work it up into a finished painting. While I am pleased with the original, I don’t think it really captured the quality of the light. However just sitting in front of it, painting it en plein air, the scene etched into my mind, and if I shut my eyes I can still take myself back there.
Housel Bay, The Lizard, Cornwall
Besides the sketch I also took a photo the next day for reference. For me it felt important to get the proportions within the painting correct. My original sketch made the cliffs a little too deep.
Scaling up Housel Bay
I gridded up the photo and transferred the basic outline in pencil onto a piece of 60cm by 20 cm MDF. I primed this with Golden 100 acrylic resin to prevent any potential staining from the board seeping up into the paint layer over time. Over this I painted three coats of Winsor and Newton’s white acrylic gesso primer. I didn’t sand this as I wanted the brush marks to contribute to the finished painting.
Drawing Housel Bay
Once the pencil drawing was complete I reinforced the line using Ultramarine Blue. If any portion of the line remained visible in the finished painting it would sink back and not jar.
Under painting
For the under painting I wanted to intensify the warmth. As you can see from the foreground this bordered on cadmium orange in places.
Intermediate Housel Bay
The background cliffs, sea and sky fell into place quite quickly, which is more than can be said for the foreground… Unfortunately I went a bit OTT with the ‘grassiness’. I knew it was both too busy and too light in tone, so I decided to completely over paint it.
Evening at Housel Bay
This was the right decision. I worked with broader strokes from a flat brush to establish the form and the general run of the grasses. Once dry I darkened and unified the foreground using several alternating glazes of Alizarin Crimson and Ultramarine Blue. This intensified the brightness of the evening light. For me this highlights one of the real advantages of acrylic over oils. In a warm room I managed to lay down several layers of glaze all in the space of an hour. This could have taken days or weeks if I’d been working in oils.
Very pleased with the final result. The exciting thing for me is that this is one of the first paintings I’ve produced ready for Andy Bill’s ‘Closer to the Art 2’ event on October 25th in Stone in Staffordshire. It will be framed and up for sale with several other works. This will be my first appearance at any show. Ooh, scary! Watch this space.
Well, after a wobbly start I think I’m starting to settle back into painting en plein air. I really am out of practice.
With me, much depends on being in the right frame of mind. So I took the opportunity to go AWOL and snuck off painting this evening. It was calm, warm and overcast, and I walked down to Church Cove to set up on the wee spit of land overlooking the inlet.
I was determined to work more loosely today and I gave myself an hour limit. I’ve found that having a limited time focusses the mind and, for me, drives better results. I also resolved to use only a couple of flat brushes, 1.5cm and 1cm (ignore the fan in the photo, I didn’t use it).
Once I’d set up my pochade box I laid out my basic acrylic palette:
Titanium White
Mixing White
Ultramarine Blue
Cobalt Blue
Yellow Light Hansa
Quinacridone Red
Permanent Alizarin Crimson
In addition I added a couple of cooler blues and three earth colours:
Cerulean Blue
Indanthrene Blue
Yellow Ochre
Raw Umber
Burnt Umber
Plein air pochade Church Cove
On my 20cm by 30cm linen covered mdf panel from Jacksons I drew out the basic shapes and quickly blocked in all the features roughly before more carefully noting the passages of light and dark.
As usual I kept the acrylics open by occasionally spraying the palette with water – not too much though, I didn’t want to make colourful puddles!
Plein air acrylic sketch – evening mist at Church Cove
I’m pretty pleased with the result, but what do you think? Why not leave me a message?
