Painting a much calmer scene than there actually was at the Pont du Diable in Languedoc, France. Whilst the family settled down to swim and sunbathe I used paper for this because I thought we could move at anytime and I knew it was going to be rushed. After all it turned out I was going to have more time but the sense of urgency really aided the process. I must try more rapid paintings.
You’ll have to take my word for it but blimey it was bright. Dazzled by the brightness of the light and the almost complete removal of colour here I sat to tackle it in oil pastel. I have a problem I wish to address when it comes to bright light and colour. Although the bushes here are clearly green too often, I find myself over using colour. In this sketch I battled through the heat and light to represent what I saw I probably went too far the other way. It’s a useful study, despite the final piece being somewhat uninteresting in composition.
I was blessed to have this view right outside the house I was staying in for a holiday en France in July this year. Whilst working on the en pleinair I wanted the viewer to observe some of the intensity of the sun behind me as it strikes the wall of the outside eating area. I laboured hard on that middle wall to get the subtle shadows and temperate change. I tackled a lot in this image throughout the week. Light, where nature meets human construct is a wonderful thing.
Settled down, post walk, to do a quick sketch of this concrete tent/bbq on Vitosha. Definitely got a study out of it I reckon
Oil pastel sketch in Plovdiv whist the girlfriend gets her nails done. I was eaten alive by mosquitoes during this sitting. Worth it though.
A quick oil pastel from the balcony on a Sunday afternoon. I’m lucky to have Vitosha as a subject at anytime
Atop Vitosha this one afternoon a few weeks ago. Rocks from a distance are a struggle of mine. I was burnt to a crisp during this sitting. It’s a great temp for Sennelier oil pastels though.
Got a couple of sittings in between tourism and wedding during a holiday in Italy a couple of months back. Our apartment in the city walls of Ostuni meant I only had to walk down the stairs and turn round to find a spot to draw. There’s so much to draw here it warrants another return
After a day walking around Sofia scoping out the art supply shops I have come to terms that there is no Sennelier oil pastels out there. So I sat on a bench to finally tackle a church that I have wanted to draw for about a year and consequently run out of white. I know it looks like I’m over indulging with the creative licence but the camera was totally failing to capture the luminosity of the light on the trees .When I left I realised that I had left a big smudge of Naples yellow (my fav) on the bench. It was a relief that the woman sitting next to me offered up a tissue without prompt. That was nice.
When on a weekend trip to Rila I had to squeeze in the opportunity to draw the view from the hotels terrace. Thought it might be a simple undertaking to start with but the constant shift of light and the need to convey distance was a trouble. Overall a good session. I feel like my oil pastels are less drawing or painting and more finger-painting.