Archive | Plein Air Painters

Is this the long hot Summer? – Learn to Paint a Sunset!

Summer:  As a keen ‘plein air artist’ working out of doors in ‘almost’ all weathers, I dream about the possibility of a long hot summer, when I can go out painting as often as possible.

My first Sunset in oils

My first Sunset in oils.  

So when it does arrive, I do my utmost to get out there and paint, most days, and re-schedule other things, for the evenings or for overcast days, when the colours of nature are muted and subdued.

So, is this the long hot summer? Will it continue into September?  I’m on a roll this year, having completed 90 paintings so far in 2017. A record for me, and what’s best of all, I’m pleased with my progress, and can see some signs of improvement in my work.

Sunsets: This year I discovered that summer sunsets are great to paint. They are not for the faint-hearted, after all, you are trying to capture rapidly changing light conditions. But you know me, I thrive on difficulties, so trying to learn how to capture a sunset as it happens is well worth the effort. Certainly they are all different and unique. Their ‘characters’ are changed by the clouds, the breeze, the time of the sunset, currently about 8.45pm where I live.  It is impossible to predict what might happen, but that is exactly what you need to do in order to prepare the board or canvas.

Sunset at Margate in Oils

Sunset at Margate in Oils

Having prepared by putting in the cloud formations and guessing how light or dark it will be at the optimum point, when it starts to happen things change very quickly, and there’s no time to mix colours, so several brushes need to be used, one for light colours, one for darks, one for the orange and reds, etc, and even then as it happens, you realise how wrong you were at the beginning, but you can’t start to chase it, you’ll ruin it all, so you then have to commit what you have just witnessed to memory, and try to finish off from memory, in the darkening light conditions.

Needless to say, if there are three artists all painting the same sunset, they will all look different in the morning, in the fresh light of a new day. If you haven’t tried it, give it a go, take a jumper, and a flask of  hot coffee.

sunset and vapour trails

Sunset and vapour trails

I am still an early learner with sunsets, so here are three of them!

If you enjoy these ‘Studio Stories’ please tell your friends and share on social media. By clicking on the last two sunset photos, you will be taken to larger images and full details plus lots of other recent work in my online galleries.

Till the next time!

 

What do Artists do all day?

painting a still life

painting a still life

Hello again,

While it’s cold and windy outside, it is a good time to review my activity last year and to make plans for the year ahead. In 2016 I painted just over 100 works mainly in oils, ‘en plein air’ but a few large (1/2 imperial sheet size) watercolours, just to keep my hand in.

I travelled to Wexford, Ireland again in late July for Art in The Open which is 150 approx. artists, amateur and professional, working together in picturesque locations, with prizes awarded for the best work, and demonstrations and workshops available if required. Best of all, the Irish know how to enjoy their evenings, and a BBQ and several impromptu social gatherings were also enjoyed.

In August I opened my studio, and welcomed many visitors to see where I work, when at home, and displayed over 100 paintings framed and unframed, so plenty of variety and choice. I enjoy the chance to meet up with fellow artists and enthusiasts, and to chat about everything art related and otherwise.

In September I travelled to the Norfolk Broads, for four days of painting in the glorious lakeside scenery they have to offer. This was about 80 artists, and it’s now the 3rd time I have attended this most enjoyable event.

painting of boats at Broadstairs

painting of boats at Broadstairs

Now for 2017 I am considering a week long trip to Cornwall as it is many years since I have painted in Cornwall, and I just love their small quaint seaside harbours and villages, and rocky headlands. I like to paint where the Newlyn and St Ives school artists used to paint, at the Lizard, Kynance Cove, Sennen, Lamorna, Newlyn harbour, etc.  I’d also like to paint somewhere warmer this year, if finances allow. In between these visits are day trips to London, and west Kent and Sussex for changes of scenery, urban views, or an abundance of trees and Oast Houses, and rolling downs.

 

 

painting of boats at Queenborough, Sheppey

painting of boats at Queenborough, Sheppey

I also plan on painting more frequently in 2017 and hope to achieve 200 approx. fresh works.

In between painting trips, there are Exhibitions in Margate in April Three Points of View, with two artist friends, in Whitstable in June with Locus Arts, in Margate in July with Broadstairs Arts Group, at home in Broadstairs in August with my Open Studio and in Ramsgate in October for my 3rd Solo Exhibition at York Street Gallery

I also help with a Sketch Group, in Ramsgate encouraging people to sketch regularly, and I also help create a programme of plein air paint outs in and around Thanet, and East Kent in the Summer. In the Autumn I’ll present another six session sketching course for begginers in Ramsgate. I’ve forgotten to mention framing, mount cutting, cellophane wrapping, certificates to be produced etc, and posting off sold works. Last but not least – writing occasional blog posts.

Busy? Yes, but I wouldn’t have it any other way.

 

 

A Quick and Simple way to Unlock your Creativity

OK – You can start with a £1 sketch book and a 4b pencil.

Yes that’s it, starting on the path to learn a new and valuable skill, can be Quick and Simple!

Sketching with a pen

Sketching with a pen

Unlike other skills such as music, you don’t need to start with a one to one tutor, or even an art class. You can start like I did, with a cheap sketchbook and a pencil. You will need to get into the habit of carrying it with you always, so you can sketch anything you like, in all those brief moments between meetings, while waiting for a bus, waiting for people, just sitting at home in your lounge, there are a thousand items to sketch, without leaving your sofa. A small A6 sized sketchbook will fit in your pocket and will hardly be noticed in a cafe or on the train. Do you get what I’m saying.

Of course, once you do acquire the sketching habit, you will naturally want to learn more techniques and get some useful tips. You will also notice quite quickly that by really looking at things properly, like an artist does, your friends will start to admire your work, and wonder “where that skill came from”. No longer will you have to hide your sketchbooks for fear of ridicule. I’m deadly serious here – your life will improve through the unlocking of your own creativity. This is exactly how I learnt to Draw and went on to Sell my Paintings.  So what if I said you can have my Ten Top Tips – Learning to Draw for FREE – does that sound good! OK! Click Here  or in the box below to get the Pdf file link, so you can save or print it.

News from the Studio

I have become an art teacher!  Did I hear you gasp? Well I recently planned and delivered my first Six Session Course on How to Draw – from the beginning! I received thirty five applications for twelve places.

I was never a ‘teacher’ in my earlier ‘pre artist’ life, but of course I have always enjoyed helping and encouraging people to achieve what they thought impossible and so I suppose the planning and presentation were not new to me.

I am delighted that my students wanted to be shown where to start on the path of learning to draw, and that they listened carefully and responded well to my suggestions and tips, so that when the six sessions ended and we looked back through our sketchbooks, everyone had made real improvements and they could clearly see their own progress.

I think I learned as much as they did and I now know how to structure my next course which will be designed to take them to the next level. Watch this space.

Al Fresco – En Plein Air – Urban Sketching – What is this all about?

Regular readers will know that I am never happier than when sitting in the corner of a muddy field or boatyard and sketching or painting from nature, especially if the weather is warm and dry. Some call it Al Fresco, others En Plein Air, and Urban sketching is the newest and latest trend, with groups forming up in big cities and smaller towns all over the world. I recently joined in with the Urban Sketchers Canterbury having found them on Facebook, and even a bitterly cold wind didn’t stop about 40 people turning up and sketching in and around Dane John Park for 2 hours, ending in a local pub to exchange banter and sketchbooks with an occasional drink to keep out the cold. Most enjoyable, and a lovely way to improve your sketching skills. If you put ‘Urban Sketchers’ into Google, you’ll get the idea.

I'm happy when painting

I’m happy when painting

This leads me on to my next challenge. I have been asked to plan a series of Al Fresco painting days for our local Art Society. I decided to go one step further and open it up to anyone who would like to try painting or drawing out of doors on warm and dry days. It starts on 19th May and continues on most Thursday’s until early September.  I prefer to start about 9.30 – 10 am and to reward my ‘hard work’ with coffee or food afterwards, usually about lunchtime. I can’t attend all venues, but others will. Remember this is a self-help group, with no formal leadership or tuition, just a group of friendly people who prefer to work out doors from nature, in good company. You are also invited to visit and join in the conversation in our Facebook Group:  KENT PLEIN AIR PAINTERS.  where all the dates and venues are to be found.

If you live in East Kent and want to improve your sketching or painting – you know what to do!

Painting the Norfolk Broads – A forgotten National Park, or an Artist’s Paradise?

Mousehold Heath, Norwich - John Crome

Mousehold Heath, Norwich – John Crome

The Norfolk Broads are renowned for their early morning mists, beautiful lakes and rivers (known as broads), windmills, trees, wildlife, boats and sailing craft of many shapes and sizes, boathouses, low bridges, old stone ruins, and a few human ruins, sorry – I mean artists, setting up their easels all over the place to capture some of this magical atmosphere.

Of course we’re not the first to notice these natural beauties, The Norwich School of Art was the first in this country, founded in 1803 and made famous by John Crome, John Sell Cotman and Joseph Stannard, to name a few. Their works went on to influence the artists of the French Impressionist school.

Atmosphere is what we as artists are trying to capture in paint. To accurately record the scene before our eyes, isn’t inherently difficult, even a camera can do that quite well. But the artist seeks to capture the ‘atmosphere’ which attracted him or her to the scene. That might be the early morning mist, the sound of the ducks, the way the light is filtered through the tree branches, the smell of the woodland, and all the other senses that the artist is experiencing.

It’s not surprising then why I and so many other artists prefer to work out doors, directly from nature.  It is also no surprise to learn that paintings and sketches made on a rainy or misty day, perhaps in the snow, or beneath a magical evening sky or in the early morning light, very often manage to capture something special about that atmosphere in a way that studio work rarely does.  For the same reasons working from photographs is almost never successful.

View from How Hill, Norfolk

View from How Hill, Norfolk. This is the highest hill in Norfolk.

So you might think we have the best job in the world? Visiting interesting places, checking out stunning scenery, painting until the light fades away, well yes and no. That is the creative part of the role, and it has many excitements and disappointments, not least  when a few spots of unexpected rain can ruin an hour and a half’s work in watercolour, or a sudden gust of wind carries away the easel, complete with firmly affixed wet painting, requiring a scramble over the rocks or a dip in the cold algae covered lake to retrieve said masterpiece. Of course, this is all forgotten when the next attempt is a success.

The other part of the ‘job’ is less creative, and more ‘sales and marketing’, a subject which doesn’t come naturally to many creative people. So it’s, framing and mount cutting, cataloging and pricing, entering into competitions, talking to galleries, planning exhibitions, placing work in Internet shops, writing detailed descriptions, packing and sending paintings, web site maintenance and writing blog articles, such as this. All very interesting and it has to be done, but still it keeps us from getting out there and being creative as much as we’d like.

mount cutting

Cutting mounts and double mounts

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To see earlier blog posts – click on this photo.

 

News from the Studio – Sun and Rain, Wexford Ireland, and Open Studios

What a Summer it’s been! Hot dry days and cold rainy days in equal measure!

But this isn’t a weather report, so here is some of my recent work, from my visit to Wexford, Ireland and then some ‘Open Studio’ news.

My visit to Wexford Ireland was to take part in “Art In The Open“. This is an annual event which attracts up to 200 artists from all over the world. Each day has it’s own chosen venue, a town or a harbour, and everyone arrives and sets up their easels, for a day’s ‘plein air painting’, as the title hints, Art in the Open. I like to get started early, to get ‘one in the bag’ so to speak, in case rain arrives later on. Here are some works in watercolour:

Stables, Wells House

Stables, Wells House

 

view from Hook Head

view from Hook Head

 

 

 

 

 

 

 

 

farm in wexford

farm in county wexford

You can see the variety of subjects chosen, I especially loved the farm buildings and the old homestead in this painting, which I did on the last day, which also brought warm dry weather.  It was most enjoyable to meet up with the other artists, in the evenings and to swap tales and experiences etc. Many are household names in their own countries.

What lovely friendly and sociable people and I even sold one work ‘off the easel’ to a cafe owner. The exhibition and dinner at the end of the week was brilliant and I found myself cementing long term friendships and promising to return.

 

My Open Studio was held over the three weekends ending on August Bank Holiday. I shared the studio of local artist, Andrea Chappell and we had the pleasure of welcoming over 80 guests, many of whom were unknown to us, and we both made sufficient sales to encourage us to consider holding open studios again next year.

some Open Studio works

some Open Studio works

Here is a view of some works on display, we had approx 40 framed works, and another 40 mounted unframed works, plus some prints and greetings cards, so something for everyone.

Open Studio

Open Studio

 

 

 

 

 

 

 

Between visitors, I managed to paint this watercolour view of our ‘Cabin Studio’, as a gift to Andrea, for her hospitality.

Have you been to Wexford in Ireland? or even visited an Artists Open Studio? I’d like to hear your stories.

Why do artists like to paint in the open air – in all weathers?

OK So I’m off to ‘Art in the Open’.

art in the open

art in the open

Probably the largest plein air festival in Europe! It takes place in Wexford, in the Irish Republic for a mad week of even madder painting, in all weathers, and accompanied by approx. 200 other artists, from beginners to professionals, using all mediums in all sizes and all styles.

The people of Wexford know what to expect, as this is the 8th year of the festival. Activities will include, six ‘paintouts’ in places all over Wexford county, painting workshops, life drawing sessions, evening social activities, including a barbeque and a dinner, a charity ‘Quickdraw’ event in Wexford Town, a lecture, an exhibition at the end of the week and awards and prize givings, for those lucky enough to attract the judges attention.

So why do we do it?

Because we hope the weather will be dry and warm and the locations colourful and picturesque. However, this is southern Ireland, where it rains a lot, it’s not called ‘the emerald isle; for nothing. Very often, its those rainy, windswept and stormy paintings that convey the most exciting atmospherics, which buyers just fall in love with and it’s the same few ‘hardy’ artists who manage to capture those effects so splendidly. So I look forward to painting with some of these ‘hardy’ professionals, in ‘all’ or almost all weathers, and hoping some of those stormy atmospherics will be captured in my work. You can be the judge of my success or otherwise, when I post some of the results.

What kit will I take?

my 'plein air' studio

my ‘plein air’ studio

I’ll be working in watercolours and acrylics. So I’ll pack a metal sketching easel, a folding chair, which I can carry on my shoulder, (I know I should stand up to paint, but I can’t stand all day) and a small lightweight folding table.

For watercolours, I’ll include a small drawing board, water bottle, folding cup, a pallette, tubes of paints, lots of 1/4 imperial ‘rough’ finish paper, some bulldog clips, various pencils and pens including dip pens, Indian Ink, masking fluid, and last but not least, my four best watercolour brushes.

For acrylics, I’ll take lots of canvas boards, ready primed for use, tubes of acrylic paints, palette knives, a selection of brushes, I reserve only for acrylics, a stay-wet palette, spray bottle, texture gell and slow drying medium, varnish, kitchen rolls, and an apron.

I’ll also take for the exhibition, some frames, and pre-cut mount boards, point gun to secure works in the frames, tapes, hanging cord, labels, and a screwdriver. Then of course, I’ll need a sun hat, sun cream, warm weather clothes, wet weather clothes, cold weather clothes, what have I forgotten, oh yes, smart clothes for the exhibition and the dinner, and a pocket camera and sketchbook. to record material for future use, including writing my next blog post!

my outdoor set up

my outdoor set up

 

I’m glad I’m not flying, and having to carry all that gear.

Do you paint with a group or in a class? It would be nice to hear your thoughts.

 

 

Why do I paint? – What inspires me?

Wow! What a Question!  Why do I Paint?

Life obliges me to do something, so I paint.” Rene Magritte

I'm happy when painting

I’m happy when I’m painting

Because I have to! – Because of the excitement if I succeed! – I think its the same thrill that drives an athlete, the feeling that they can always do a little better. That’s the same for me. Of course, I didn’t do myself any favours. I only began this personal journey about fifteen years ago, looking at works of the masters, who had drawn and painted every day of their lives, year after year, so I can never hope to reach their standards but I still try to improve, little by little and as long as I spend lots of time trying, I know that small improvements are possible.

If I’m not painting, it’s because my mind is on something else, I’m probably procrastinating. Why do we do that? Is it the fear of failing? The true masters of any art or craft skill, are usually those who have endured the most failures, but after each failure, they have got up again, to try again and again, doggedly determined to succeed in the end.

I think this is what keeps me painting, while I’m at the easel, time just disappears, I’m lost in another world just intensely concentrating on the task in hand, thinking about how my predecessors, or today’s top professionals, would approach the task. At that moment, along comes an onlooker to say “It’s so relaxing isn’t it” ! Agh!

If only they knew the truth.

What Inspires me?

Everything has beauty, but not everyone can see.” –Confucius

Certainly I am inspired by the impressionists and the world class English watercolourist’s since JMW Turner, but artists are also inspired by ‘ordinary’ things they see in everyday life, that others don’t seem to notice. Old industrial and derelect buildings, or boats etc, which others see as eyesores, waiting to be demolished or removed. Barren landscapes, windswept vistas, crashing seas, gentle valleys, mountain paths, I never know what will inspire me next, it may be a fleeting change in the weather, a dash of sunlight on the water that lasts only a minute, and is gone.

Stormy Day at Llanberis Pass

Stormy Day at Llanberis Pass

It’s very often to do with light, and the way it falls on objects, and changes their colours or their solidity and shape.

My studio here in Broadstairs, is right at the eastern tip of Kent, which used to be an island many years ago. Because of this we are surrounded by acres of sea with only a small land mass, where the sun’s light reflects back off the sea, like Canaletto’s Venice, or Ben Nicholson’s St Ives, all these places are blessed with a ‘special’ light, beloved of artists.

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Q Do you paint or draw?  or are you more interested in reading about what artist’s get up to in their studios?

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Four Days – Painting ‘en plein air’ In Norfolk!

Four Days to paint Norfolk! What a challenge! Q) How would you like some adventure?

Early morning mist at Rollesby

A Norfolk Early Morning Mist over Rollesby Broad

Well I was up for it, so I signed up to join in the first ‘A Brush with the Broads Plein Air Festival’ –  A week long event in the Norfolk Broads National Park organised and hosted by professional artist and teacher Linda H Matthews. We arrived late afternoon on the Thursday, at Clippesby Hall where we met everyone in the welcome marquee and after some food, we were treated to a watercolour demonstration.

Friday morning brought lovely weather and all the artists went off in different directions to paint in their chosen localities, scenes varied from rural agricultural land and buildings to rivers and wider waterways, known as the broads, to boats of all shapes and sizes, old bridges, wind pumps, churches, boathouses, the variety was endless. I particularly liked the early morning mists hanging over the waterways – very atmospheric and not easy to paint such sensitivity in watercolour.

View from How Hill, Norfolk

View from How Hill, Norfolk. This is the highest hill in Norfolk.

Saturday also brought warm and dry weather and everywhere we went, fellow artists were set up under the trees, by the boathouses etc, making art each in their own way. In the evening the organisers had laid on a social function, with a live band, but I regret I was too tired to enjoy this, and took an early night, missing another excellent workshop.

Sunday dawned, again misty but beautiful and we set off to the City of Norwich, for a timed ‘Quick Draw! Charity event. We each had two hours, to complete our vision of Norwich, a city I don’t know very well, but I found a corner behind the Art School, made famous by the Norwich School of artists, lead by John Crome, JS Cotman, and Stannard. among others. Here is my dip pen Indian Ink and Wash sketch.  On the Monday we again found more subjects to paint, this time, I chose a view from the  top of How Hill – one of the few hills in norfolk, a county which is known for its flat open, low-lying landscapes and big skies.

Pen and Wash Norwich Art School

This was the home of the Norwich School of Artists

Monday evening was the exhibition of the best works, and many sales were made. I’ll be participating again in 2015 so watch this space for the write-up.

Pintar Rapido – or – A Painting in a Day!

Pintar Rapido is a Spanish idea – brought to London by Roger Beckett.

My watercolour of Sloane Square, London on the easel.

My watercolour of Sloane Square, London on the easel.

Can you imagine coming across over 500 artists on the streets of Kensington and Chelsea, London all being madly creative and painting on every street corner, from every vantage point. It’s an unbelievable sight for an artist, but can you imagine the impact on the general public? Wouldn’t everyone, given the chance, like to watch an artist at work and be intrigued at how he or she makes the painting ‘their own’ by adding feelings and thoughts about the subject. I have taken part in this activity for two years now, and been lucky enough to sell my work, on both occasions. We arrive at Chelsea Old Town Hall on Saturday morning and our canvas or board or paper is stamped on the back. We then disperse to all corners of the Borough and set up our easels, our drawing boards, our chairs and everything else we need, and start to plan our day’s work.

The first thing to notice is that everyone works differently, uses different materials, some use studio easels, some work on the floor, some in oils and others in pastels, I work in watercolours and others use acrylics. We all hope for one thing, and that is dry weather. Carting a portable art studio, around with you is no joke on a rainy day, its hard enough on a hot one. If you’ve never seen artists at work – it’s worth going to visit for that alone. Artists usually do their ‘creating’ behind closed doors alone in their studios, so it’s a real treat to watch their process.

My watercolour of Sloane Square, London

My watercolour of Sloane Square, London

The subjects chosen are as diverse as the artists themselves, from riverside boats, barges and bridges, to historic buildings, to parks and gardens, to busy street scenes or quiet mews houses, tree-filled squares, rooftop views from high vantage points, market stalls, passers by, statues and even a graveyard. There is plenty of variety in this part of London. I chose Sloane Square and painted my first subject before a well earned lunch at Côte of Sloane Square. I went back to paint another watercolour as my first one was sold ‘off the easel’ or so I thought, and anyway its better to have a choice at the end of the day. By about 6pm I had three paintings in the bag and had to choose one for the exhibition on the Sunday, and mount and frame it. As usual I asked others to choose the best, as I find it so difficult to judge my own work.

Pintar Rapido - the Exhibition at Chelsea Old Town Hall, London

Pintar Rapido – the Exhibition at Chelsea Old Town Hall, London

After a good night’s rest the preview opened at 11am where all the paintings, approx. 400 in number were exhibited in the big hall. The judges awarded the prizes we were all thanked and the public were let in. They had been invited by the artists and organisers and paintings began to sell. I went off down to the riverside at the Chelsea Embankment and  made a dip pen and Ink drawing of the Albert Bridge, an old and ornate iron suspension bridge, painted pink! (Only in Chelsea)!

Pintar Rapido - the Exhibition at Chelsea Old Town Hall, London

Pintar Rapido – the Exhibition at Chelsea Old Town Hall, London

Luckily I received a phone call to say my painting had sold, so I could head for home, after lunch at the Chelsea Potter, pub in Kings Road. What a fabulous weekend, every bit as good as the previous year, and an opportunity to sell my work at London prices.

Needless to say, I’ll soon be booking my place at Pintar Rapido 2015.

How I Plan a Painting Pt 2 – the finished work!

Marshside East Kent

Marshside – East Kent My view as I arrived

In Pt 1 click here I explained how I go about the planning of a painting and the importance of deciding about the composition and placing of tonal values, ie: where the darkest darks and the lightest lights will be positioned. You wouldn’t believe the number of times I’ve seen someone take out a photo from a magazine place it in front of them and go to work copying it as neatly as possible! Is that art? The result might be exceptional, but it will always be someone else’s composition and someone else’s colour scheme. When I decide to paint a subject I wouldn’t be happy with another person’s photo. I prefer to work from real life, or sketches, and to play around with composition first, to test the possibilities. The photo above shows Marshside and here are my initial tonal sketches.

Tonal Sketches

Tonal Sketches – I chose the one on the left.

Even if I’m working on a portrait of someone famous, where I don’t have personal access, I would still try to find say, ten photos of the person, then lay them out and design my own composition using the photos and my own sketches as reference material.

Here is my set up for a plein air watercolour painting of the stream at Marshside in East Kent. The stream is important because it used to separate the Isle of Thanet from the mainland, many years ago.

My plein air set up.

My plein air set up – simple and easy to carry.

By squinting I could see that the water was nearly as light as the sky and as the eye naturally seeks out the lightest sections, I chose to darken the sky and some of the nearby water, but leave the lightest patches in the water and through underneath the bridge, to lead the viewers eye underneath the arch. I also thought about removing the signpost. but positioned on the right edge, and pointing inwards it would draw the eye back across to the meadows at the left.

So the eye travels in from the bottom along the stream, under the arch, to the farm buildings, it then meets the signpost and goes left back towards the meadow. I have kept the darkest darks as in the first photo, under the arch, the reflection in the water and the foreground foliage.

Marshside East Kent

Marshside – Watercolour by Julian Lovegrove

From my work in progress photo above, you will see that I don’t always follow the ‘rules of watercolour’ which say you should always paint from ‘light to dark’.  I often like to establish the darks first, and add the lighter colours later, it can lead to a more powerful painting. A favourite watercolourist of mine Jake Winkle, also works this way, and very effectively. Here is my finished work, I hope you like it. By clicking on it, you will be taken to see further photos and details. Enjoy!