Painting-in-Progress: The Old Croft House

A few weeks ago I did an on-location painting of an old croft house. There were some issues with perspective (which is something I have to really think about) but overall I was happy with it. And I thought I’d internalised where I’d gone wrong with the perspective, having consulted the in-house art critic for whom perspective is easy.

Croft House step by step painting

I’ve been thinking about this old house and doing it on a bigger canvas. A few days ago I got out a 100x100cm canvas and put it up on my easel.

I didn’t do thumbnails in my sketchbook (even though I encourage you to do so!) but just played them through my mind as I sat looking at the canvas. And then all of a sudden yesterday afternoon I was struck by a desire to start, and sketched in the composition with an acrylic marker pen, then added orange and yellow to the “not-sky” area.

I then painted in the “sky area” with blue and white, cleaning my brush of the blue into the foreground (where it’ll create a colour connection across the composition and work as a shadow colour) before adding some yellow (which with the blue on my unwashed brush and the still-wet blue on the canvas mixed to greens) and then some white to get the lightest green.

And this was when I realised I’d made an error in the perspective on the cottage. Not like a little mistake, but totally the wrong way around. At least I’d noticed before the in-house critic came along. So I forced myself to slow down (no point getting the sky and foliage working before the house), to think it through from the basics and redraw the perspective.

I edited one of my snapshots on my phone to draw some lines on it to help me. The lines aren’t straight because they’re done freehand; if I’d been using editing software on my computer I’d have used the straight-line tool. (Click here for the original photo if you’d like to have a got at painting this too.)

Using a rigger brush and Prussian blue (which is what I’d used in the sky), I redrew the house.

And then I continued to “just add paint”.

The “rusty roof” colour is created with Prussian blue, titanium white, cadmium orange, and magenta i.e. I added some magenta to what I had already been using. Notice how I’ve also used some of this elsewhere in the painting so the colour doesn’t sit isolated on the roof only.

This is where I stopped painting for the day and went to check my perspective with the in-house art critic, who saidthe back wall of the house needs straightening but overall only a little bit awry.

This photo is to show you that I had my on-location painting in view whilst I painted.

Video: Mixed Media Pebbles

I had a go with granulating watercolours painting a few favourite pebbles.

(If you don’t see the video above, you’ll find it on my Vimeo channel here.)

Click on photo for a large image if you want to have a go at painting these pebbles yourself.
A4, mixed media

More Rocks with Fluid Watercolour and Ink

Before the kelp-and-rocks watercolours I did (see video and blog here) I had sat in the sun looking at that big dark slab of rock that’s such a favourite of mine and done a few paintings. The session didn’t have an auspicious start as, when I turned from watching the waves over the sea wall, I dropped my pencil box with the bottles of watercolour; fortunately none broke.

I started with a line drawing using Payne’s grey acrylic ink, then used a wet brush to spread some of this around.

I added some hematite genuine and Luna black watercolour, and a bit more ink to re-establish the lines at the back.

I then wanted to add a little of the yellow lichen and greens on the rocks, and ended up overworking it (and I’m not showing you!).

I decided to have another go, this time starting with colour and adding the ink line afterwards, once the watercolour was dry. But that didn’t go quite to plan as I knocked over the bottle of ink. Splat.

I managed to pour some of the ink back into the bottle, and attempted to wash off as much of the ink as I could and dabbing at it with a piece of paper towel, without loosing the watercolour beneath. It ended up looking like this; I could possibly still rescue it with some opaque acrylic and/or oil pastel ( I didn’t have those with me).

I had another sheet of paper already taped along the edges and used the piece of paper towel I’d dabbed at the spilt ink to make the start of a third attempt. There’s a little inadvertent pattern (the same mark from stamping down on the surface without changing the angle of the paper towel, or varying the distances between marks) but I thought it a hopeful start.

I left it to dry and then added line using Lunar black watercolour (if you zoom in on the photo you can see the line is granulating, fragmented not smooth). I really like the result, and one out of three isn’t bad going in my book.

Here’s a view of the slab from the ‘other end’. When the tide is in, much of this is covered.

Video: Painting Kelp & Rocks with Fluid Watercolour

My aim was to capture a feeling of the washed-up kelp lying amongst the rocks on the shore at Camus Mor, glowing oranges in the sunshine. I used narrow masking tape to divide a sheet of A3 watercolour paper into four, and some DIY fluid watercolour (or watercolour “ink”). This video is in real time, and you’ll see I’m not spending very long on this. I think it’s essential with this approach to work quickly and just keep going, so you don’t second-guess yourself. Some attempts will work better than others.

(If you don’t see the video above, you’ll find it on my Vimeo channel here.)

Starting at the left:
My first sheet of four drawings, with the masking tape removed and stuck onto the second sheet
My pencil box of various liquid watercolours I’ve made up
Water to rinse brush
The colours I intended to use
The second sheet of drawings; the top right one got too wet and I was waiting for it to dry
A bit of waterproof padding for sitting on
My daypack with waterbottle
Plastic ziplock bag for used paper towek
My other pencil box with graphite and coloured pencils

Video Demo: My First Attempt at the Red Boat

This timelapse video was taken as I made my first attempt at painting the red boat and creel nets (see this month’s project instructions). I started with pencil and then coloured pencil, feeling my way towards the idea for a composition I had. I approached it as a study, a first go to explore what appealed about the subject, saving worrying about slowing down to check I was getting all perspective “right” for another time.

If you don’t see the video above, you’ll find it on my Vimeo channel here.

After the pencil layers, I blocked in the main shapes using watercolour, then shifted to drawing with Payne’s grey acrylic ink, followed by acrylic paint, ending with oil pastel.

A3 watercolour paper

Overall I was pleased with where I ended up at with this painting, and delighted that I’d tackled the subject (boats being something I rarely do). There are things that aren’t totally working, such as the angle of the boat/cabin, depth of its hull, the length of the creel nets, how I’ve fudged what’s happening to the right of the negs, whether there should be pebbles and not just grass behind the nets. These can all be addressed next time, for now I’m enjoying the feel of the string on the creel nets and the line of them leading the eye up, and the decision to have a relatively simple shape of blue at the top (only sea, not sea/sky).


Special thanks to singer-songwriter Micah Gilbert, who lives down the road from me and wrote the music I’ve used on the video. If you use Spotify, go here.

Painting That Puddle in the Woodland

Plein air painting Uig Woodland Puddle painting

So, that puddle with the dried grass and reflected tree trunks that I first noticed a couple of weeks ago (see Late Afternoon Walk in Uig Woodland), that has stuck in my mind and become the inspiration for February’s Painting Project, that I’ve painted one-and-a-half times in my studio (the half being unfinished as I’m writing this). Well, I’ve now had a go plein-air painting it.

Part of my hesitation about doing so has been because my favourite viewpoint would mean setting up right next to the path, so no hiding from anyone walking through the woodland. I tried to hide in plain sight by wearing my beanie down low and my coat pulled up. One person said she’d thought I was a photographer. Another looked at me, looked in the direction I was facing, then looked at me with a befuddled expression, and moved on.

I was painting on a 9×12 inch wood panel, with a layer of clear gesso on it. I was quite happy with where I got with it and beginning to ponder whether I needed to add some paint to the area at the back between the trees where there was a lot of bare wood (negative space) when some determined drizzle set in so I stopped painting.

Uig Woodland Puddle painting

I think the rain shower stopped me from overworking the painting, both in the foreground and background.

This photo gives you a view of the painting in context:

Plein air painting Uig Woodland Puddle painting

And here’s a close up view that shows you the texture of the wood panel and, if you look closely, the rain drops.

Uig Woodland Puddle painting

Colours used: Titanium white, atrament black (Schmincke), pthalo turquoise, magenta, azo orange (M Graham, PO62, cheaper than cadmium orange and not as red as PO73), brilliant green (Langridge PG7+PY3), and a yellow (can’t remember exactly what it was and don’t feel like stumbling across to my studio in the dark to check).

A Plein-Air Problem in/with Perspective

Artist Marion Boddy-Evans plein-air painting at Aird bay on Skye

The setting: sheltered from the breeze in a small cutout in the hillside, overlooking a small bay, with the mainland in the distance emerging occasionally from the low cloud.

The problem: I’ve become accustomed to the speed with which water-based mediums dry and overpainting to fix mistakes. But of course with oil paint it’s not going to dry anytime soon and I can’t layer and overpaint in the way I would in acrylics, it’s all wet-into/onto-wet painting. When I realised I’d made a fundamental mistake with the perspective, and what it would take to fix it, I was rather fedup with myself.

Artist Marion Boddy-Evans plein-air painting at Aird bay on Skye

If you look at the photo above, the bit of coastline in the distance on the right is what I was painting. If you look a the photos below, you’ll see that right from the start I’ve painted it as if I were at a higher viewpoint.

Four steps of a plein air painting in progress, of Aird bay Skye

I’ve put the horizon line of the sea too high up, but I didn’t realise this until I painted the house. Then suddenly it was so <expletive> obvious. And that I’d made the distance between the shoreline and the top of the hill far too wide. I put the latter down to painting what I know the landscape does rather than painting the landscape as I was seeing it from this specific point.

The latter I could resolve by wiping off the rocks to the right-hand edge, then repainting. But to lower the horizon line I’d have to sacrifice the way I’ve painted the sky, with some of the board left unpainted. The clear gesso on the board is very ‘grabby’ and doesn’t wipe off cleanly back to board colour; it would take a lot solvent to do. And it’s messy.

Wiping an area also means the good is gone with the bad. I found myself being precious about the bits I really liked and having that conversation with myself about a painting ultimately living by itself not with its reference and thus would it matter. Fortunately the misty rain came in at that point and so I decided to pack up instead of facing the fact that I’d had a perspective problem right from the start. Next time I’m at this spot, I’ll hopefully remember.

My First Long Video

It took an entire afternoon to upload on my single-track broadband (fibre currently ends three miles down the road), but eventually it did. So cue the dramatic music, my very first long video is a now available to rent (watch online) or buy (watch and download) here.

It’s 27 minutes long, featuring me painting this month’s project and “thinking aloud” about what I’m doing. It’s like watching me do a demo in a workshop. (And being on Vimeo rather than YouTube it’s advert-free.)

All my current Patreon subscribers should have received an email with a code to watch it for free; check your spam filters if you haven’t. If you beome a subscriber (on any tier) by 15 January 2020, you’ll also be sent a VIP code. Find out more here…

(If you don’t see the video embedded above, go here…)

Do I get bonus points for ticking something off my to-do list before it’s even fortnight into 2020? Thoughts and comments appreciated, as always.

My First Steps with Plein-Air Oils

Painting on location in a part of the world where the weather forecast is often “changeable” and “occasional showers” has meant I have, at times, had Nature add to a painting. Unfortunately, with watercolour or ink it’s invariably not a “happy accident” result. More like a “washed that off” result.

I’ve been thinking more and more about having a go with oil paint on location as rain won’t have an impact, and being outside means solvent won’t be a problem. It still leaves keeping wet paintings out of reach of the ever-inquisitive studio cat Ghost while they dry, but that isn’t unsurmountable with small paintings.

Cue the arrival of my first pochade box a few weeks ago, one with space for keeping two wet paintings safe as I stumble along a rocky shore. After a week of staring at it, I tried it out in the safety of my studio, then a few days later ventured out. This is me grinning like the Cheshire cat after putting the very first bit of oil paint on a panel (with orange acrylic for a coloured ground).

Bit further along on that first painting, when the sun came out and changed all the colours.

The point at which I stopped. Not too shabby for a first anxious attempt, I thought. Size 8×10 inches.

My second attempt with it was in the Uig woodland. I’d hoped the Little Tree That Could would still have some autumn colour on it, but it didn’t. I’ve also painted at the Rha waterfall, and at Camus Mor a few more times, enjoying myself immensely, albeit with mixed results. (And, no, I won’t be sharing photos of the dire ones! Just think “overmixed muddy colours”.)

Painting of Rha River rapids
Painting of Rha River Double Waterfall
plein air seascape painting

This is the painting I like best, so far. It’s 30x30cm on wood panel primed with clear gesso (rather than white).

step by step seascape painting

Using a shallow plastic container for a palette has contained the paint and made cleanup easy, the lidded metal container for solvent hasn’t leaked, I’m nowhere as anxious about it all, I haven’t dropped a painting, and Ghost hasn’t walked over a still-wet painting, yet.

Painting “The Little Tree That Could”

There’s one little tree in the Uig woodland that wears its autumn colours later and longer than the rest. I call it the “The Little Tree That Could” (context: the children’s book The Little Engine That Could with the lines “I think I can, I think I can … I knew I could“) and first painted it in 2014 (see this blog). On Monday I went to say hello again, taking my watercolours and some acrylic ink (video link if you don’t see it below).

My first painting, watercolour on A3 paper
My second painting, which I like more than the first
With the second I added a bit of background colour first
Third painting, liquid watercolour and Payne’s grey acrylic ink. There was a bit too much ink andnot enough orange, but overall I think it worked.

This video was taken when I started moving the colour around with a rigger. (It goes a awry for a bit as I open a bottle to add more orange, just skip that bit. Video link)

My fourth painting is my favourite, ending up a bit like Moses’ burning bush. Watercolour only.

I was sitting on a convenient rock next to the stone wall.
1 = Watercolour set.
2 = Painting drying.
3 = A bit of waterproof padding to sit on.
4 = Plastic folder with paper that also serves as a ‘drawing board’.
5 = Inks and fluid watercolour in plastic box.
6 = Water bottle (for me before my brushes)
7 = Backpack with raincoat, biscuits etc.