I’m afraid it has been a wee while since I posted anything on this blog – I’ve been so busy making new work and attending markets etc. during the busy summer tourist season.
But here at last is the completed watercolour studio sketch “A Blue Day in May” showing a view of the Small Isles (Muck in the centre, Eigg on the right, and Rum on the left) as seen from the rocks at Ardnamurchan lighthouse on a very blue day this May. In the far distance, just right of centre, you can see a misty outline of the peaks of the Cuillin on the Isle of Skye. My last blog post showed this work in progress…
This is a modestly sized studio sketch made using my own reference photos and memory, painted in Winsor and Newton Professional Watercolours on grainy Arches Aquarelle cold pressed 140lb (300gsm) paper. It has a very restricted colour palette limited mainly to blues, to reflect the nature of the day and the experience I remember: Cobalt Blue, Cobalt Blue Dark, French Ultramarine, the tiniest touch of Cerulean Blue, and a small amount of Indanthrene Blue in the sea, with a little Paynes Grey and a touch of Scarlet Lake for mixing shades and greys, plus a wee bit of Neutral Tint in the islands. I don’t much like using the strong, synthetic Indanthrene Blue, but the more natural blues did not quite have the strength or tint required for some of the darks.
We only see a few days like this each year on the west coast of Scotland, but it is one of the many different moods which characterize this remarkable area of sea and sky and rugged landscapes.
This image has already proved popular in reproduction, and is now available on landscape format greetings cards and in a range of sizes of giclée prints which I make myself (framed and unframed) in my Folksy shop.
Out at the lighthouse on Saturday afternoon everything was blue except for the clouds: blue sky, blue sea and blue islands. The view from this most westerly point on the British mainland is expansive; the weather was fine but rather hazy, and at times white or even grey clouds blocked the sun, but the scene remained strikingly blue though the hues shifted as the clouds passed by. As the wind was too cold to remain on the rocks long enough to make a proper sketch, I took a set of photos to work from and started that evening on a studio sketch, while the scene was fresh in my memory. Stage 2 of the work is above, stage 1 (still wet and so slightly buckled) is below. This painting needs to remain light and airy, so another couple of short sessions should be all that’s needed to finish the sea and add the islands on the horizon. (The top and right-hand borders are handy for testing but will be cropped from the final painting.) Although this paper has its merits, the grain does not run in an appropriate way for the artist to be able to exploit the texture for the sea in the way I would like. Possibly I should have turned the block through 90 degrees before I started, but it’s too late to think of that now 😀
Winsor and Newton Professional Watercolours on Arches Aquarelle cold pressed 140lb (300gsm) paper, in a very limited colour palette using Cobalt Blue, Cobalt Blue Dark and French Ultramarine, with a little Paynes Grey and a touch of Scarlet Lake for mixing shades of blue and greys. These are mainly non-staining and more or less granulating colours, and although these “traditional” blues can’t really be beaten for purity and quality of colour, they are a wee bit tricky to handle. Winsor and Newton seem to be putting too much gum arabic in their cobalt blues, at least in the tubes, which makes them even harder to control; it may be time to try a different brand with a slightly different formula…