I was back in London this weekend in search of new painting subjects. The studies done down in Chelsea have given me a taste for the big city and all it has to offer. I hunted around the embankment but it was way too packed! Feeling a little discouraged I opted to head for Tower bridge as a last resort. I'm glad I did!

Found a really good spot and decided to leave the actual bridge for another day when the light was more favourable. Instead, I found an interesting view looking east from the bridge. It turned out to be quite a complex little study with lots of varied shapes/tones/colours. There weren't many 'restful' parts to ease up in! Anyway, thoroughly enjoyed it even though I was dog tired afterwards. It's no masterpiece but a nice little study where I've gathered some good information. It has certainly fuelled my desire to get down to London more and for the time being I'm going to head for the Thames (avoiding the tourist hotspots if I can). Also brushed past Colin Jackson doing a TV interview for the marathon in front of the bridge!



Also did a lightning study of one of my favourite local(ish) spots at Tyringham bridge (looking east). The light suddenly started to fade under milky cloud as soon as I got my paints out but I thought I'd have a go. It was a bit rushed (25 mins in the end) but I'm glad I got something of the distancing on the trees and the purplish hues that turned more yellow in the faint shafts of sunlight that were left. It might work on another attempt in the studio but hopefully I'll be back there in the evening when the sun is more steady!



see how drab and lifeless the photo is by comparison...

I'd always imagined the view I painted from the Hungerford bridge would serve its purpose better in a slightly different format. The day after returning, with the scene fresh in my mind, I worked up an alternative. I wanted to try and keep the energy of the original done on location which isn't so easy in the studio. I seem to make more instinctive marks/decisions when out in the field.

Last weekend I headed out round Stony Stratford with my pochade box. I figured I need to get more accustomed to working in populated areas if I want to get into painting London a bit more.

The light was a bit iffy so I decided to paint some nice flowers against some railings. I don't normally go for vivid colours (or flowers) but it was hard to resist and I wanted to get something done! It was also a good technical exercise as I needed to think about how to keep the colours nice and vibrant. It's easy to fiddle on a small scale (5x7 in). I opted to paint the flower heads first and paint the surroundings up to them so that the colours didn't get 'infected'. I also made a conscious effort to keep some of the edges softer. An enjoyable little study, hopefully capturing some of the vibrancy of Spring...

A few recent sketches. I much prefer the small, rapid studies but sometimes I get pulled back into more detail. My ultimate aim is to aim for the essence of the moment captured with a burst of intense focus. Can be hit and miss but full of energy!


(Another lunch hour mini sketch from the refectory at work)


(Trafalgar Square in a matter of minutes!)


(lunch hour study of a street in Woburn Sands)

and then the usual stuff I get drawn into sometimes..

Had a great day a couple of weeks ago on the house boats along the Chelsea embankment, organised between the amazing Heatherleys School of Art and the Cheyne walk trust. About a doaen artists turned up and it was great to share the experience with others. I painted a couple of panels of the Albert bridge from a boat sitting under the Battersea rail bridge.

In the time I was there the water rose to a level where the Albert bridge started to disappear from view! I'll know for next time!

!



I've entered one (not shown) into an auction event which will be held at Heatherleys on April 22nd (prizes presented by the brilliant Ken Howard!)

To follow up, I headed to the embankment around Westminster on Saturday and found a decent spot on the Hungerford bridge. Masses of people were passing by but I was still able to tune in and get something down... !



Thank goodness I don't rely on photos that much these days. Just look at the lack of colours and tonal values in the snap I took. It contains none of the energy I found in the moment... !

Funny how a small prop can add a new dimension to an image. I love the way artists like Sargent used scarves and collars to make dynamic compositions. I can assure you these drawings aren't motivated by vanity :o)



The kind of drawings I actually prefer doing these days are the rapid, 'snatched' moments where I don't get much time to think. It's all about being aborbed in the here and now, focused, uninhibited by doubt or hesitation. Who was it who said 'Our doubts are our traitors'? The results can be hit and miss but the process is far more rewarding