Detail of pumice application
I’m using the plein air paintings I did on site and of nearby countryside to remind me of the place and trigger memories. I tend not to work from photographs as I find there is more information and memory in a drawing or painting where I have spent time observing the subject over a period of time. I’m not so concerned with technical accuracy, but want to evoke a sense of the specific place. I want this piece to have some drama, so I’m pleased I drew it in two very different weather conditions!
Cadir Idris range from Tal y Llyn, painted plein air in graphite and watercolour on a clear, bright day. Useful for colour and shape reference
The same view painted plein air in acrylics and graphite on a VERY wet day (can you tell?)! This one gives me what I need in terms of weather and reminds me how the mountains soften in the rain and how the colours change. This is actually one of my favourite plein air paintings of the area
The hot summer has slowed down the drying time for my oils, which has been frustrating. Because I don’t use chemical thinners, I just have to wait for nature to do its thing! Below is layer two of the colour application.
I have decided to exaggerate some areas to give the scene a bit more presence and to give a better sense of the solidity of the mountain range. I’m keen for the light to spill from the left, behind the summit of Cadir, picking it out as a focal point, and onto the lake and across the hill on the right hand side.
Colour and heft added. Still a lot to do, but the bones are appearing and the light conditions and ‘weather’ is established. The foreground, reeds and plants will be added later and will create texture and interest across the front and right hand side.
I’ve softened it a bit, to get more depth and to give more a sense of Welsh weather! I’ve also dropped the middle hill a bit to draw attention to the summit of Cadir Idris on the left. The colour complexity is building and starting to shimmer below the surface. Looking forward to adding the foreground detail, but it has to wait its turn!
Adding more depth and colour complexity to the painting
My client’s grandmother painted, and I was given some of her oil paints. I’m working the burnt sienna and lemon yellow into the painting
Detail. The foreground will be added later, and will cut across the water
The finished piece, drying on the easel…
The final painting. 1000 x 400 mm on 35 mm deep box canvas