Still overcast day and reflections

Detail of the finished painting below: Mixed media, a still overcast day, dulling colours. Vivien Blackburn

I arrived in bright sunshine but it almost immediately turned overcast and soon started to rain - a misty soft rain. Colour dulled and contrast softened, except for the strong contrast of the block of trees with heavy summer foliage, and their reflection, against the pale bright clouded sky.

Whole painting: Swithland Reservoir, overcast day, summer. Watercolour and coloured pencil. 10x9 ins approx. Vivien Blackburn

A very very still subject, as different from the rough seas of Cornwall as possible but an equal challenge. There was a very limited colour range because of the light and the dense foliage of summer. I may try an oil paint version to see which works best - I have a suspicion that water colour may win.

other posts in the series can be seen here

Comments

Jeanette Jobson said…
Gorgeous work....its very effective. I can get the feel of the day so well.
2:36 pm
vivien said…
thanks Jeanette :>)
5:24 pm
Pam Johnson Brickell said…
Stunning, Vivien. I'm with Jeanette about feeling the day.
11:25 am
vivien said…
thanks Pam :>)
3:08 pm
Jean Spitzer said…
Me, too. It's beautiful, both full and detail.
7:09 pm
rob ijbema said…
wow you did a fantastic job with a grey day vivian,wich is not easy to do,i failed twice yesterday!
10:20 am
vivien said…
thanks Jean and Rob

Rob you do the Welsh soft light beautifully!
12:01 pm
Post a Comment

Popular posts from this blog

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, with some of the taller dried grasses showing
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter
Read more