I recently went through a phase thinking that I lacked the ability as a painter because I didn't have a 'bravura' with the brush. However, brush handling is more like handwriting really and can't be forced otherwise it feels unnatural. Sargent and Sorolla seemed to paint so effortlessly their paintings seem to be dripping with energy and glowing with colour. It's like they're painting with liquid. It all looks so spontaneous. However, artists like Hammershoi and Vermeer had such a delicate touch it's equally breathtaking but in a different way.

My approach tends to be more reflective and considered as opposed to flamboyant and the brushwork ought to reflect that. The location work helps bring more energy into the brush as there's an urgency to the process. However, when painting portraits on the spot I still like to feel as though I have control. Sometimes I'll flick, scrub or scumble with a light touch but if I try and be consciously energetic things can end up getting out of control.

For me, it's more important to spend time thinking about the tonal relationships/values, colours and other such matters rather than get too bogged down in the brushwork. I don't want to become too 'mannered', relying on a stock of techniques used as a means of abbreviating. The fear would be that I would become 'lazy', dependent on a brush technique rather than really thinking/looking. My own form of boldness needs to be expressed through the decisions made about tone and colour rather than any particular flamboyance with the brush.

This weekend was far to windy to be painting outside. Even a gentle breeze can be problematic, especially with the larger canvas sizes (e.g. 18x36in) I'm currently working on. I've seen photos of artists like Monet and Sargent who used to tie their easels and canvas down with ropes but I'm not sure I want to take things that far. Besides, my current work is dependent on last/first light which changes so quickly it would hardly be worth all the hassle. Those artists also had assistants to carry all their kit!

There's an interesting artist who is a member of the Royal Birmingham Society of Artists who has converted a camper van into a mobile studio (Robert Perry). He carries loads of equipment like industrial spray guns and he's done some really interesting large scale location pieces. It's an excellent way of transporting larger works and carrying all the associated kit. I've often thought about a mobile studio myself but seem to manage OK with the car at present.

Anyway, I worked on the Campbell park pieces inside this weekend. Not ideal and not as enjoyable as being on the spot but it does provide a valuable opportunity to reflect on what has been done and what needs to be done. I can be more considered (both a good and bad thing!) and there's less urgency about the paint handling. Some areas such as the skies need carefully balancing in terms of tone/colours so a chance to do this at a steady pace isn't a bad thing. The paintings are starting to develop in their own directions and it's important to respond to that rather than being completely led by the subject matter. After all, the paintings need to stand on their own two feet and it's no use saying 'well, that's what it was like' if it doesn't add value to the end result. Still, ready to get back to the site now (albeit before/after work) and the weather forecast is looking pretty good for this week

I think I've got the location bug. It's more of a right brain activity for me and I feel like I'm tuning in to the subject. It's more instinctive and I feed off the information coming back at me. It's so much better that working from memory or reference material like photos. I'm having to almost re-educate myself but slowly the mind is opening up to the possibilities.

This tiny little oil study (5x7 inches) was done in 20 minutes on a cold winter evening. I tried to keep it fresh with simple notes of clean colours. The sky was glowing and the light seemed to change every time I looked up. The photo demonstrates the difference between what I saw with my eyes and what the camera decided to 'see'. The shadow areas in the painting give me much more meaningful information than the photograph (which also has the sky colours bleached out). I find there's no comparison these days. See what you think yourselves when comparing the two:

I'm not sure how good an idea it is but I spent another morning session down at Campbell park this morning before work. Once I'm down there painting things start to click into place but the 5am start is a bit harsh. Still, it's the only way to catch the light at the best part of the day and even if it ends up being a bad day at the office (as they frequently are) then at least I'll have accomplished something. One passer by said the painting seemed 'alive' and I really appreciated that. It's nice that people go out of their way to offer some encouragement.

As a complete aside, I thought I'd add a shot of a self portrait (well, only part of my head is included) that I finished a few weeks ago. It's not my usual kind of subject but at the time I wasn't in the most positive frame of mind and perhaps it captures something of that. I'm thinking of calling it 'Overcast'. It was done in front of the bathroom mirror and is essentially about the shapes of light and shadow. The brushwork isn't as lively as the outdoor pieces but it's still working from life and I think the muted colours and tones work OK. Next time I'll focus more on the head but this one was all about the light on the torso. I deliberately broke with conventional wisdom by putting my cropped face in the corner. That's generally a no no in terms of composition but I wanted to see if I could somehow make it work. Not sure if I nailed I enjoyed having a go.

I was working down at Campbell park for a couple hours last night from about 7:30pm. I wasn't really feeling much like it after a day slumped in front of the computer at work but I try to tell myself that it'll be worth it and usually it is!

The light isn't that good and there's a bit of a breeze but I'm still able to work on one of the big canvases. I'm having a bit of a job trying to make sense of all the colours/tones in the trees but a steady, layered approach seems the most appropriate. The contrasts/harmonies really are very subtle and I'm trying to capture something of the late sunlight shimmering through the poplars. It's not easy when I'm looking directly into the sun either but some strategic manouevering and a full rimmed canvas hat help me get round some of the difficulties. Once again, some encouraging comments from passers by helps keep the spirits up.

It's like chasing something that you can never reach. I'm constantly trying to attain something that captures what I see and sense in front of me. The light/colours are so elusive it's hard to imagine nailing it but working on the spot gives me the best chance of getting as close as I can to what I hope to acheive. Some shots of the location at different times of day to give you an idea of how nice it is down there (last night they had the 20/20 cricket going on nearby and it sounded like they were trying to whip up the crowd with music etc.)

I started writing an article about painting on location a few months ago. I've got quite a lot of little outdoor studies that are too numerous to place in the main galleries on this site so I'm tempted to stick a few onto the blog as I do them. Quite a few of them don't turn out as I'd hope but generally they have much more energy than the studio stuff. There's more pressure from distractions like time, weather, people passing by but it all seems to add something. When I'm out there I feel kind of 'plugged in' to things and the whole process seems totally different. Much more rewarding than wrestling with a picture indoors, away from the subject. A little tension helps keep the process energerised.

I've been reading about some of the old school Slade/Euston Road artists like William Coldstream and they all needed to be guided by what was in front of them. I think I need that sort of guidance too, otherwise I seem to get lost

Anyway, a couple of images to show my outdoor kit. I've managed to cut the load down these days, travelling much ligher than I used to

While I'm around, just thought I'd say that there's some new paintings on the way. I'm currently working on a series of paintings down at Campbell Park in Milton Keynes. It's weird because I've lived around MK for 7 years and never found anywhere in the town that I've been inspired to paint. This spot has really caught my attention though and I've spent loads of early mornings (5am starts!) and late evenings over there.

I started off doing a few studies on the spot in oils and watercolour and once I got to know the place developed the ideas into bigger pieces. Now I've got 3 whoppers on the go and have been popping down there with them whenever I can before/after work.

There's a winding canal down there with rows of poplar trees that are about 20 years old. It's pretty peaceful although 'Gulliver's Land' is nearby. Plenty of nice comments from passers by have been a real boost to morale and conviction. I do love to paint outdoors on location these days. Studio work can be very isolating and it's liberating to be out amongst it all. Will post some pics soon!