Timelapse Video of My October Project Painting

This is a timelapse video of me creating a painting for October’s painting project of part of the bay at Camus Mor. It’s acrylic and oil pastel on watercolour paper.

NOTE: Be warned, the light in the video flickers somewhat as the camera tries to deal with my moving around. I might just have to do video on overcast days only. And, yes, at one point Studio Cat Ghost is riding on my shoulders (around 03:51)

If you’re not seeing the video above, this link will take you to it on my Vimeo channel.

You’ll see I initially sketch the cliffs to far to the right, but don’t bother erasing the incorrect lines as I know I’ll be painting over these with opaque colours. Then I start covering all the white, or blocking on areas Colours used: cadmium yellow, quinacridone gold, phthalo turquoise, cadmium orange, magenta, Prussian blue, perylene green, titanium white. Plus oil pastel. Medium and small flat brush; rigger brush.

The phtalo turquoise is a bit intense; my thought was that I didn’t want too dark a dark at that stage and that a green-blue would give a sense of the green on the hilltop and reflected in the sea. After I’d done it, I then worked at subduing it hrough layers without obliterating it

At 04:44 i’m using oil pastel to fix the edge where I’d torn it taking off the tape (I really should be more patient and careful doing this!).

When I looked at the painting the day after with fresh eyes, I realised I’d aligned the sea horizon with the edge of the headland, and that the sea was pouring off to the right. I used some oil pastel to move the horizon up a bit and straighten it. The yellow-orange in the foreground could be more golden, and I might still glaze some quinacridone gold over this.

My Thoughts on My Watercolour Rocks

Watercolour of rocks

As all location painting should, I started by just sitting staring out to sea. The warmer the sunshine, the longer this stage tends to last.

Sitting at the sea side

Then getting out my supplies: sheets of watercolour paper, clips to hold these down, my watercolour set, container for water, box with drawing supplies and longer box with bottles of fluid watercolour (also known as watercolour ‘ink). I’m hoping not to drop anything off the left-hand edge of the wall, because it’d be quite a scramble to get to it.

Watercolour sketching in the sunshine

My first sketch of the day was the view to the left, of the headland and the pebble beach. I was trying to get a sense of the rocks and the colours of the seaweed on it. The direction of the sea as it comes into the bay isn’t right — it doesn’t turn this sharply — but I didn’t feel like fixing it as I’d lose the white and overwork it.

Watercolour of rocks

I then shifted my focus closer to where I was sitting, the jumble of larger rocks with the puddles of green weed.

Watercolour of rocks

I was pleased with the painting above, and decided to try again with a wider view. As so often happens, I was then trying too hard, hindered by what I’d just done, and ended up with a displeasing result. It lacks the strength of the previous painting, and feels insipid, unresolved, confused. If I crop off the sides, I’m less unhappy, but I consider this a dud.

Watercolour of rocks

This was the other dud of the last, the very last painting I did, though this one might still be rescued if I add something that pulls the sea and shore together. And also crop.

Watercolour of rocks

This was my favourite painting from the session. The rocks were painted with Daniel Smith’s Lunar Black, a strongly granulating colour.

Watercolour of rocks
Watercolour of rocks

I then did a version using Daniel Smith Hematite Genuine, which goes from deep dark to browns depending on how diluted and mixed it is, plus some Lunar Black. I like the colour, but I’ve rounded the rocks as I concentrated on the colour rather than shapes.

Watercolour of rocks
Watercolour of rocks

I’ve kept the expanse of sea ‘white’ as part of my ongoing exploration of white space inspired by the little I know of the traditions of Chinese painting. It’s ever so tempting to paint colour in that space, but that’ll change it completely. Also, I find the granulating colours lift very easily, so you’ve got to have a light hand painting over them. Given I was using a stiff acrylic brush not a soft ‘proper’ watercolour brush, that’d be near impossible, thus removing the temptation to try.

Video: My First Attempt at Painting Portree Harbour

One of my reasons for selecting Portree harbour as the subject for September’s monthly painting project was to get me past the point of merely thinking about painting it and to give it a go, all that perspective in the buildings or not. The video below is of my very first attempt at this subject.

I regard it more as an exploratory study than an resolved painting, there are bits that I like and bits I don’t. Most of all it’s a painting that has got me past my fear of the subject, made me study the scene, and motivated me to try again.

I have since changed the building that shouldn’t have been pink to yellow using acrylic paint, but otherwise am not going to ‘fix’ this painting. Its job is to help me create other, future paintings. I think there’s too much black on the hillside, and some of the ink work is too messy rather than linear. My favourite bit is the water, and that I did it at all.

The non-photo blue pencil I started theoretically is easy to eliminate from photos; I like it for its soft colour that gives me a round of sketching before I get to graphite. I used a propelling pencil with 2B because it means I don’t have to stop to sharpen a pencil.


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Video: Tall Trees Painting

This video shows me painting on the middle of my trio of tall trees from yesterday’s blog. I used an unfinished seascape with texture paste, starting with yellow acrylic ink which I knew was transparent enough to turn the blues to greens. I had the canvas sideways so I could easily reach edge to edge, rather than having to stretch across it.

The in-house art critic asked how I decide where to put the “blobs of colour”. The answer “I know it’s only to go on the trunk and just random” is inadequate, apparently, so I’ll be trying to figure it out more and put it into words.

Trio of Tree Paintings

I have been wanting to try a tall trees painting (see this month’s painting project) using acrylic ink on canvas rather than paper, and have ended up with three in quite different colours. I’m unsure whether to move them closer to one another (that would involve choosing a favourite, which I think is the middle one) or let them be individuals.

Two were painted over unresolved paintings (one a waterfall, the other a seascape). The leftmost canvas is covered with black lava paste and the middle with my favourite light texture paste. I did this because reusing a canvas ‘permits’ experimentation with less worry about ‘wasting’ the canvas. Also because I thought the texture could work well and didn’t have to wait for it to dry. The rightmost canvas I covered with light turquoise first, which it wasn’t quite dry when I started on the trees.

I mostly used acrylic inks but also a few fluid colours which are more opaque and spread less wet into wet, such as the orange in the central painting. Iridescent yellow and gold too. Canvas size 20x50cm (8×20″). Brushes were a rigger and smallish flat, both with long handles. I painted flat on my table rather than vertical at my easel so that gravity wouldn’t pull the paint.

The paintings weren’t totally dry when I took the photos, and I will look at them afresh tomorrow and decide if tweaks are needed.

Video: Four Of My Attempts

This video is a speeded up version (eight times faster than real life) of four of the paintings I’ve done with this month’s Tall Trees painting project as the starting point. I’m using acrylic ink (no prizes for guessing it’s Payne’s grey) and DIY watercolour “ink” (hematite genuine and undersea green, both distinctive Daniel Smith colours).

If you’re a Project Subscriber, you should already have received the link to the real-time video of the first of these paintings, or go here. As a celebration of summer (or the thought of summer if you’re in the southern hemisphere), I’ve set the real-time video so that If you become a patron today via Patreon, including at the $2/month level, you’ll be able to watch this.

Which do you prefer? Speeded-up or real-time, a bit of both or speeded-up a little? Post a comment and let me know.

What Photos Don’t Show Us About a Painting

Ram Painting with Line in Different Lights

Which of these four photos shows ‘the truth’ of this painting?

Ram Painting with Line in Different Lights

Top left: Taken in my studio out of direct light (most of my photos are taken like this).
Top right: Photo edited with ‘auto-adjust’ (subtle differences).
Bottom left: Taken in my studio in direct sunlight.
Bottom right: Taken in my studio with part of it in direct sunlight through the window

I think they’re all ‘true’ because what you see in a painting depends on the light. The more light there is, the more you’ll see down through the layers of colour; the less light there is, the less you see. That’s one of the joys of an original painting, what you see does change as the light changes through the day. One photo simply can’t convey it all.

Go North: A Painting Looking Towards the Shiant Islands

Sitting in the sunshine at the shore looking out across the bay towards the Shiant Isles, that’s the inspiration behind this painting. It’s somewhere I often sketch, but haven’t done as a painting on a large canvas for some time.

“Go North”. 100x100cm (39×39″). In my studio £795.
Go North Shiant Islands Seascape

If you’re wondering about the colour differences between these two photos, one was taken on my phone camera and the other on my SLR (“proper”) camera. In terms of which colour is truer to the original, it’s the first, but neither is perfect. What you see in a painting done with texture and multiple layers of paint changes with the light conditions too.

Here are a few work-in-progress photos from this painting:

wip shiant painting detail 2
wip shiant painting detail 3
wip shiant painting

Painting in Progress: The Old Bridge

Sligachan bridge painting in progress

This is the painting that’s currently on my easel, a sequence of photos taken while I painted, up to the what I will be facing when I head back into my studio. It’s 100x100cm (39×39″).

Sligachan bridge painting in progress
100x100cm, acrylic on canvas

Looking at the photos, Jerry Fresia’s “complete at any stage” popped into my head: “… at each moment of the process a painting ought to have correct value and color relationships. It ought to be complete at any stage. … think of a painting … [as] something alive that grows and moves in unexpected directions, not unlike jazz improvisation“.

Having correct colour and tone relationships at each moment is something I aspire to, and not having it is often the ‘problem’. In this painting there’s a point at which I make the mountains too dark, as I refined the shape and made them more “mountain colour”. This was resolved by having some cloud drift in (glazing with thin whites and greys).

At another point I realised I was struggling with the water in the river because I was trying not to get “river colour” on the bridge. I could have prevented this, of course, by not starting on the bridge before I had finished the river, not having painting so much of it, or not worrying about preserving it. But liking what I already had, I opted to mask it off with some tape instead.

Sligachan bridge painting in progress
This photo would fit into the sequence above as the second-last one.

I’m aiming for a “river in spate” level of water, influenced by how it was when I took this video earlier this month.

I’m thinking of it as a companion piece to this more summery painting (which is at Skyeworks Gallery):

“Rushing”. 100x100cm. Acrylic on canvas. £795 at Skyeworks Gallery.


My Little Secret About Painting Ram Horns

Sheep painting with seven sheep against yellow background

I’ve had a few comments from February’s project participants about not being able to paint horns like I do. Let me let you into a little secret: in my studio I have a pencil drawing of a horn the in-house art critic did for me several years ago as a ‘cheatsheet’ for the shading because I kept getting myself muddled and stressed.

Ram Horn Drawing Diagram

It’s a bit cryptic, reduced to four elements — outline line, white highlight, shaded shadow, and twisted-form zigzag . It reminds me of the essentials, without the distraction of colour, pattern, or ridges, or position of ears. It’s been in the corner, within view though not consciously seen every day. Encouragement and reassurance, a reminder and incentive. It’s taken me ages to feel I can do horns to a level that consistently pleases me, but I feel I’ve got there now, probably.

drawing ram horns in ink

If you scroll through my sheep paintings you’ll see how horns pop up now and again, but not often. That’s changed over the last few months, even going to this extreme:

Sheep painting with seven sheep against yellow background
“The Seven Ram-ewe-rai”. Diptych, 100x50m (two panels of 50x50cm). In my studio. £645 . (Title is derived from the film The Seven Samurai)
Ram painting
Prize Ram. Acrylic on watercolour paper A2 size (approx 42x59cm). In my studio.
Sheep Painting "Down Off the Hills" by Marion Boddy-Evans
“Down off the Hills”. 100x100cm. £795. In my studio
“Two Ply”. 70x60cm. £595, Contact Skyeworks Gallery on skyeworksgallery@gmail.com

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