Here’s my current Ingleton waterfall oil painting with Monday’s reworking. I’m bringing in some more green tones as in the sketch I’m using that I’ve recently shared on this blog. I’m also mixing mid-grey tones for the band of ochre rocks on the ledge. I’m still working quite vigorously, but have to be careful not to lose it. It’s so easy to in the later stages of a painting. You’re always thinking about this and how to approach the next stage. It’s a kind of dialogue that goes on constantly in the background of your days. I’m always trying to work my time to get back to the easel in good light, and a calm open frame of mind so that the marks can flow. Really enjoying my new brush that I bought in Cambridge on a recent visit. It has a real spring to it. I take very special care of new brushes to try to keep that quality as long as possible. I photographed this on the easel so you can get a sense of scale. I’ll keep you updated as to progress!
Here’s an old sketch of Ingleton waterfall that I have been using this half term for a small oil painting. I wanted to explore the elemental qualities of water and stone,as I had been with the Lymeregis Cobb work. Again it doesn’t matter that this was made a long time ago, my attention was so complete when I made it, I find that the sketch is like a key to unlock the memory even down to the feel of wet spray on my face and the sensation of the wet cold stone. The veil of water falling over the ledge of ochre coloured stone provided the original stimulus from the waterfall at the end of the iconic walk. The resulting painting is underway but not finished. I bought a wonderful new brush which should help complete it on my recent visit to Cambridge. The plasticity of the oil paint is a joy to work with. It is nowhere near finished. I need to feel where it wants to go next. I’ll share the painting itself in the next post. I made this drawing standing up with important colour notes that help so much when it comes to the painting.