For me, there is no greater thrill than discovering a really exciting, inspirational subject and being able to capture my thoughts and feelings about it in the form of a painting – I think most artists would agree with this. I paint almost every day: painting is something that has been a vital part of my life since childhood and the desire to do it remains as strong as ever. The reason I paint is partly, of course, to fulfil a need, a necessity, and for my own satisfaction and reward. Equally it is to share what I see and feel with others, especially when this concerns a new aspect of an old subject matter or a new discovery.
Evening Study, Place Del Pi, Barcelona
OIL ON PREPARED BOARD
25.5 × 18cm (10 × 7in)
“With its striking contrasts of shape, scale, tone and colour, here was a subject that I simply could not miss!”
Painting is a wonderful form of self-expression, but to paint well – and thus create works that are meaningful and have real impact – requires integrity and originality. You have to be true to yourself. Each artist has a different view of the world and this should be reflected in the way that the individual paints, so that there is a personal observation and insight concerning the subject matter, combined with aspects that reveal something about the particular artist. The most interesting and effective paintings are those that are subjective and individual, rather than those that follow a prescribed style or method and could have been made by anyone.
Inspiration is an instinctive quality, a motivating force and an essential factor in every painting project. Working without inspiration almost inevitably leads to rather ordinary, unexciting results. Ideally, what is required in each new subject is something compelling and different that urges us to paint it. This could be a certain effect of light, an unusual and dramatic composition, or some other feature that makes the subject interesting, distinct and appealing.
However, inspiration isn’t just a matter of waiting for something to strike out of the blue. Like so many aspects of painting, it is enhanced by experience. A key skill is being able to recognize the potential of a subject when you stand in front of it. With experience you become a sort of visual detective, able to assess very quickly any qualities within the subject that will translate effectively into a painting. Moreover, sometimes, again because of the skills and experience you have built up, you instinctively recognize that the subject, although not inspiring at that moment, would be more impressive if you were to return at a another time of day or in different lighting conditions.
Boatyard, Ardfern, Argyll
WATERCOLOUR ON ARCHES ROUGH
39 × 57cm (15¼ × 22½in)
“Dynamic composition is always an attraction for me, so what could be better than a view like this, found by chance when I was looking around a boatyard.”
Winter Morning, Las Ramblas, Barcelona
OIL ON PREPARED BOARD
25.5 × 30.5cm (10 × 12in)
“I decided on a low viewpoint for this subject, to create the most drama from the height of the plane trees and the canopies of the umbrellas cutting into the light.”
This was my thinking when I came across the scene at Las Ramblas, Barcelona late one afternoon. I could see that it had great potential for a plein-air oil painting to capture the busy activity and special mood of the place, but I judged it would work far better in the early morning light. So I returned the next morning and set out to achieve what I had in mind, as you can see in Winter Morning, Las Ramblas, Barcelona.
Luck can also play a part. Sometimes you just happen to be in the right place at the right time, as I was when I visited the boatyard at Ardfern; see Boatyard, Ardfern, Argyl. As soon as I saw the three boats aligned in that dramatic way, creating such a striking, dynamic composition, I knew that this was something I must paint. There are days that aren’t so rewarding, of course, and you return home disappointed. However, the great finds more than compensate for this.
In my view, the important qualities to strive for in a painting are a sense of immediacy, event, dynamism, light and drama; conveying the spirit of the place or subject; and an assured touch – by which I mean using brushwork that is expressive and full of feeling, rather than safe and consequently perhaps overworked. When parts of a painting are brushed out to give a smooth finish, they ‘die’; in other words they lose the vigour of the raw stroke and the sense of paint. In the work of most painters you will notice quiet areas, unsure passages, along with elements that are expressed extremely confidently and give the painting real impact. There is a little bit of angst, together with some success and technical adroitness, and this makes the painting all the more interesting.
It is seldom possible to produce a painting that successfully combines all the qualities described above: painting is never that easy. However, there are occasions when, inspired by the subject matter and given the right conditions and frame of mind, everything seems to fall into place. For example, in Steep Hill, Robin Hood’s Bay, I relished the potential that the subject offered for a dramatic, interesting foreground to lead the eye into the scene. With the particular viewpoint and exaggerated perspective, this gave the painting a terrific sense of design. As well, having been painted on the spot, the work has a strong sense of immediacy, lively brushwork and a sensitive expression of light and mood – something that I hope is the hallmark of all my work. In terms of utter on-the-day satisfaction, it doesn’t get much better than that!
The challenge of painting also has much to do with qualities such as determination, perseverance and confidence. Artists generally work alone and it can take a lot of self-assurance to stay motivated. Of course there are periods of self-doubt, even if, like me, you have been painting for over 40 years. While gaining experience and mastering skills are essential factors in developing confidence and success, it is important to remember that everyone has an ‘off’ day now and then.
Steep Hill, Robin Hood’s Bay
OIL ON CANVAS BOARD
56 × 46cm (22 × 16in)
“With its terrific sense of design and exaggerated perspective, this was a very challenging plein-air subject, but an immensely rewarding one!”
There are various factors that help determine our philosophy and technique in painting and, inevitably, one of the most influential of these is our personality. For example, a cautious person is likely to be careful and precise in approach, whereas a more extrovert character will probably work in a freer, expressive way. However, personality is not always an overriding influence, for other factors, such as the artists whom we particularly enjoy and study, or perhaps other artists with whom we paint on location or holiday painting trips, can equally play a part. Certainly for me, developing an initial grounding and experience in painting owed much to the encouragement of several leading artists around at the time when I was beginning to paint, who generously shared their skills and knowledge with me.
An Embrace on the Beach, Sandsend
OIL ON CANVAS BOARD
40.5 × 51cm (16 × 20in)
“If well placed and not overstated, figures will invariably add to the interest and impact of a painting.”
John Burley’s Yard, 1964
WATERCOLOUR ON BOCKINGFORD NOT
39 × 57cm (15¼ × 22½in)
“This is one of my early watercolours, which, although not as confident and fluent as my present work, nevertheless shows the importance that I have always attached to a composition based on sound drawing.”
Working alongside skilled professional artists is one of the best methods of learning the basic craft of painting. Nevertheless, while we can learn a great deal from other artists, ultimately our success will depend entirely on ourselves – our degree of commitment to practice, persevere, experiment and so on. Enthusiasm – a love of painting – is perhaps the most essential quality, particularly if it is matched by dedication.
It is worth a reminder at this point that painting is not just about technique; it is equally a way of seeing and interpreting. The ability to observe, understand and concentrate on the essentials of a subject is a vital asset, as are drawing skills. Always, the impact of a painting will rely just as much on sound drawing, keen observation and interesting content and design, as it does on the handling of paint and use of colour. All these aspects need constant practice. For instance, I have often both attended and taught life classes over the years: life drawing is an invaluable discipline, I think, not just for figure work but also for developing drawing skills in general.
I paint on the spot whenever I can and inevitably such paintings are influenced by various practical issues – a limitation of time or viewpoint, for example, or the changeable effects of light and weather. These issues have to be addressed and, in my experience, there are two key factors that will contribute to a successful outcome: first, it is wise to start with an assessment of the situation, so that you can fully appreciate and exploit the strengths of the subject matter and conditions; and additionally, you must be prepared to make quick decisions as the painting develops.
Bubion, Las Alpujarras Mountains
WATERCOLOUR ON PAPER FROM A SAUNDERS WATERFORD WATERCOLOUR BLOCK
30.5 × 40.5cm (12 × 16in)
“Often, compromises have to be made when painting outside. Although I had to work from the side of a car park for this subject, nevertheless it made a very interesting, atmospheric painting.”
With Bubion, Las Alpujarras Mountains, for example, I was struck by the beauty and atmosphere of the scene, but my viewpoint was governed by the fact that I had to work from the side of a car park. This meant that the foreground was largely taken up by several flat-roofed rectangular buildings, which initially were a concern. After some deliberation, I decided that the simplicity and restfulness of the buildings – in terms of their colour and the limited amount of detail – would create a useful contrast to the background, with its impressive mountainous slopes and dramatic sense of scale and distance. In fact, I thought the final painting worked quite well, particularly regarding my decision to use watercolour, which was perfect for capturing the contrasts of light and the distant heat-haze effect.
With this example, as is sometimes the case when painting outside, the viewpoint from which I was able to work was a compromise between what was ideal and what was possible and safe. Nevertheless, because the composition of the painting is always important to me, I will often go to extraordinary lengths to find the best viewpoint and, as a result, this may mean working from a very awkward, uncomfortable position. On the other hand there are times when, perhaps because of an impending change in the weather, a lack of time, or the overall activity and busyness of the place, I cannot work from the viewpoint that I would like. Therefore the only option is to make some quick notes or sketches, or take photographs.
One of the most difficult aspects of working on site is when conditions change radically during the painting process. This is when you have to make some important, quick decisions. It depends on the circumstances and how much progress you have made with the painting, but generally the best approach is to keep to your original intentions for the work, especially regarding the overall mood and light effects. There is no benefit in trying to keep up with the changes of light as the sun appears and disappears. However, there are times when something alters to the advantage of the subject matter and in consequence is worth adding to the painting. For example, a passer-by might stop for a few minutes in just the right place for you to include them as a point of interest in the painting.
Undoubtedly it is a tremendous advantage to be able to work decisively and quickly for plein-air paintings and sketches. In my experience, the first 15 minutes are the most crucial, when you will have the most enthusiasm for the idea. After that the light may start to change or other factors may come into play, which begin to make the work more difficult, so you need to capture the essence of the subject as quickly as possible. Another asset is a good memory – the ability to recall useful reference information at a later date in the studio – and so enrich the paintings you are working on.
Last Snow and Bright Sun, Mitchelfield Farm, Hathersage
OIL ON PREPARED BOARD
25.5 × 30.5cm (10 × 12in)
“Particularly in winter, it is a tremendous advantage to be able to work quickly and decisively for plein-air paintings. Generally, the first 15 minutes are the most crucial.”
Although my paintings are based on fact – working from observation – the emphasis is always on making a personal response rather than feeling that I must accurately depict every facet and detail. Self-expression is fundamental to painting: I can see little point in simply making a record of what is there, expressed without any feeling or individuality. Moreover, painting is about communicating ideas. In my paintings I hope to involve the viewer in the excitement I had for the subject and the qualities that I felt were important about it, together with my way of interpreting shapes, tones and colours.
In painting a subject and producing a result that has impact, there is usually a need to select, simplify or exaggerate various elements. Few subjects are heaven-sent and therefore you have to make the most of what is there – to turn the ordinary into the extraordinary. For example, for my painting of The Narrow Manoeuvre, I happened to be on site at exactly the right time to witness the arrival of the narrowboat, which provided the extra ingredient that the scene needed. Despite that stroke of luck I still needed to enhance some elements of the composition to make the painting work more effectively. I lowered the horizon and stretched the trees to make them look really majestic, which in turn gave the composition more vigour and interest.
The Narrow Manoeuvre
OIL ON LINEN CANVAS
61 × 51cm (24 × 20in)
“I captured this subject just as the narrowboat was arriving, thus turning a rather ordinary scene into something much more exciting.”
For me, self-expression starts with observation and initially I concentrate on the key shapes that will make up the composition. This involves an assessment of the middle and distant shapes just as much as the foreground. There has to be strength in the forms throughout the composition – rather than an imbalance created by too much emphasis on the foreground – plus the necessary interpretation of space and depth achieved through the sensitive use of colour, tone and paint handling. Related to this, features such as trees must be resolved satisfactorily, so that branches feather-off, for example, and the form and texture of the tree is convincing and has an inherent poetry.
Ideally each artist should work in a way that is distinctly theirs and is not too influenced by other painters or art movements. However, while it is good to have your own style, it must never be at the expense of allowing some freedom in your work. My advice is to risk a little experimentation from time to time, whether in technique or subject matter, as this will help keep your paintings lively, interesting and challenging. Moreover, style is not something that is necessarily fixed for the rest of your career. If you are serious about your work and always seeking to improve your painting skills, then inevitably your style will gradually change.
Thatched Barn, High Easter, Essex
WATERCOLOUR ON BOCKINGFORD NOT
39 × 57cm (15¼ × 22½in)
“Another early, large watercolour painted on site and showing the more daring approach and raw energy of youth.”
Sunday Art Market, Barcelona
WATERCOLOUR ON ARCHES ROUGH
39 × 43cm (15¼ × 17in)
“I loved the sense of rhythm and extraordinary perspective in this subject, which I painted from a balcony high above.”
There have certainly been differences in my style over the 40-year period of my painting career. Note the raw energy evident in Thatched Barn, High Easter, Essex, for example, painted when I was quite young. Compare this with the much more considered approach shown in Sunday Art Market, Barcelona, which is a recent painting. In this painting the design is far more sophisticated and exciting, as is the use of the subtle washes and lost and found edges.
I now have a far greater range of techniques at my command and a much wider experience of different types of subject matter, enabling me to paint in a more varied way. I hope, for instance, that as you look through the illustrations in this book you recognize certain characteristics of my style but, because of the variety of approaches and ideas, you are not always sure! The advantage of this sort of versatility, particularly if it applies to more than one medium, is that you are in a much stronger position to interpret ideas as effectively as possible.
Obviously the success and impact of a painting is also greatly influenced by the choice of medium, support and techniques. Look at Old Glory and the Bandstand, Whitby Harbour, for example, which was painted on paper from a Saunders Waterford block, and compare the result with Sunday Art Market, Barcelona, for which I used a sheet of Arches Rough. These are completely different surfaces and each has a significant impact on the techniques and effects that are possible. The Arches paper is thick and robust. Its textural surface will hold generous washes, take many superimposed layers of colour and stand up to techniques such as lifting out, without any obvious damage to the surface. Also, it is ideal for large-scale studio work.
In contrast, the Saunders Waterford block requires a more restrained approach relying on very gentle washes, rather similar to the Victorian style of watercolour painting. This paper is often the better choice for location work, for which there is usually a limited timescale and the need to work quickly with single, uncomplicated washes of colour. There is no need to stretch this paper, but I do stretch the Arches sheets drum tight, even the very small sheets, which is something else that can influence process and technique.
Similarly, when I paint in oils, I generally choose a linen canvas for a large studio work or for a subject where I want the brushmarks to play a key part, while alternatively, for location paintings, I normally work on a prepared gesso board or canvas board. Whatever the medium, I always use the best quality paints and other materials.
Old Glory and the Bandstand, Whitby Harbour
WATERCOLOUR ON PAPER FROM A SAUNDERS WATERFORD WATERCOLOUR BLOCK
30.5 × 40.5cm (12 × 16in)
“As here, when the subject is more complex, I do what I can on site and then complete the painting in the studio, working from reference notes and photographs.”
Most artists work on the basis that their best painting ‘will be the next one’! This is a cliché perhaps, but it is nevertheless a good philosophy and motivating force to believe in. To set increasingly greater challenges in our work, and always be striving for results that are visually more exciting and show improved technique, is obviously a sound approach. Additionally, patience and perseverance are necessary qualities because, although we will hopefully learn something from every painting, inevitably the rate of improvement is a very gradual process.
However, one of the exciting things about painting is that now and again, quite unexpectedly, something happens that is really enlightening and in consequence lifts our work to a new level. It could be something to do with technique, the way that a particular quality of effect in the subject matter is interpreted, or perhaps a different approach in the use of colour. This sort of coincidental discovery in a painting can have a significant influence on the subsequent direction and development of our work.
Equally, there are occasions when a painting forces you to act boldly and completely out of character in order to save it from disaster. I can remember once struggling and becoming very frustrated with a watercolour painting on a sheet of tinted paper, because the surface was reacting rather like blotting paper, presumably because it had been inadequately sized. Although the absorbent surface proved ideal for the soft background effects that I wanted, it was hopeless for the strong colour necessary in the foreground area, so I took the unusual step, for me, of working with body colour (watercolour mixed with white gouache). It was a gamble, but it succeeded, and I managed to re-establish the strength and definition of colour that I needed.
Success breeds confidence and this in turn encourages a more adventurous approach, with paintings that are more interesting and rewarding. Also, of course, we can learn from our mistakes – and incidentally even the most experienced artists have the occasional failure! Sometimes it is quite obvious what has gone wrong with a painting and which colour, technique or process should have been used instead. At other times the mistake itself teaches us something about a particular medium or technique. The main thing is to persevere with your paintings and accept that not everything will succeed, especially if you are true to your feelings and not afraid to test your abilities to the limit.
Midwinter Moorings
OIL ON PREPARED BOARD
30.5 × 25.5cm (12 × 10in)
“I liked the flow of the design here, with its essentially triangular composition and repeated triangular shapes.”
Here is an oil painting that relates to all the key aspects and challenges of painting discussed in this section. It was inspired by a wonderful low-lit scene that I came across one afternoon during my first visit to the Isle of Man. There are some stunning beaches on the Isle of Man and, certainly during this trip, the quality of the light was exceptional. By choosing a high vantage point from which to paint the scene, I was able to make the most of the drama of the light and also create a composition that had dynamism and originality.
In a way, this was a simple subject, but nonetheless one that involved an interesting variety of features and qualities. For example, there was a distinct contrast in the tone and structure of the two separate rock formations, requiring some subtlety in the dark areas and different painting techniques. In many of my paintings I like a high horizon with a limited amount of sky or, as here, no sky at all, although this can make the interpretation of space and depth more difficult. As I often do, I have relied on the use of tone to convey recession, working from stronger tones in the foreground towards the brilliantly lit sea area.
I found this subject late in the day, having earlier completed a painting of a view across Peel Harbour. I made a small oil study on site, working on a 25.5 × 30.5cm (10 × 12in) prepared gesso-coated board, and subsequently used this information as the basis for the larger studio painting shown here. Often when I am out painting I find that the best work is produced at the end of the day. I think as the day goes on I become more reflective and attuned to what is around me. This said, I do not usually have to spend very long in a new location before I am eager to start painting – and this was certainly true of the Isle of Man.
Evening Light, Peel Harbour, Isle of Man
OIL ON LINEN CANVAS
61 × 76cm (24 × 30in)
