This time I wanted to represent this wonderful scene in good old pencil, minus the fish! Pencil was always my medium of choice in my younger days and with the range from H’s to B’s is great for subtle tonal changes and depth. It’s quite stark and more in keeping with the original stone relief.

This is a nice little plaque I found in Bruges, by the canal, and I just loved the 3D effect. Something I wanted to recreate, with my usual washes, speckles and pits. A dot of white gouache helps to give the impression of depth in a hole, or height in a raised area. I was pleased with the subtle colour and texture contrast with the old brickwork. The words are NOT on the actual plaque. I just felt it needed that little extra to give an ethereal touch.

Good relief carving appeals to me because of the form and depth.  Whether Medieval or ancient civilisation, as long as it is beautifully crafted, I’m drawn to it.  I like depth in my own work and, using watercolour, leave the darkest areas for last.  For me, once that has been applied, the painting comes to life.  So, although I don’t carve, I do try to simulate a relief carving in my painting, sometimes using authentic colours, sometimes using unrelated colour.  Here are some examples.

This Mayan civilisation (Central America)relief sculpture is a sensational composition. The next one isn’t, but it’s likeable nonetheless. The title is tongue in cheek, because I can’t remember anything about it, where I saw it or what period it comes from. The same applies to the Three Apostles below, but the Birds in a Tree painting exists on the walls of the temple of Angkor Wat in Cambodia. I was true to the design and the colour of the stone, but then added gouache paint heavily mixed with white to create pastel shades in the birds and leaves.

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This African picture was a wood carving and had a strong influence on me – great shapes. figures, decorative elements and mystery. I reduced the carving to the basic shapes and turned it into a painting using the muted range of colours I’m so fond of – paynes grey, raw sienna, alizarin crimson, burnt umber and cerulean and/or ultramarine. The blues blend nicely with the browns to give subtle hues, and of course the alizarin crimson and ultramarine (+ paynes grey) give muted purples.

Medieval art work is so distinctive so I just had to have a go at representing my family in that style, albeit loosely. Simple figures with little detail and expressionless faces. The items within each panel are symbolic, decorative and non-realistic, and perspective is contrived to suit the narrative. A few arches to complete.
A wash was applied on top of the drawing then the whole picture was speckled using a toothbrush. Paynes gray is, as so often, my prime colour and various browns and reds were added for different hues.Heavy shadow under each arch gives depth to the scene.

My son, David, taking part in the Cyclone event in Northumberland. It’s a family event of three levels ( approx 30, 60 and 100 miles) setting off from, and finishing at, Kingston Park rugby ground, Newcastle. The background is taken from other sources. Below is the progress of the painting in stages. Had I not got the face right I would have abandoned the whole thing but, happily, it is a reasonable likeness so I continued. Actually, I wished I’d stopped it before adding the background. It made quite a pleasing illustration. I was not happy with the crowd’s faces but once the painting was finished, I added some shade and subtltey with coloured pencils. I think the difference can be seen between the last one in the series and the finished painting. Phew, saved it!

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I got a long way with this one before abandoning it in the early 80’s. The museum management had turned down two other drawings and so I knew this one wasn’t going to get anywhere. I filed it away, having had enough of fine detail drawing.  Pleased I kept it.  My only reservation is about the foreground mother – perhaps a bit too sour-looking. Oh and maybe, no definitely, the group by the horse.  Looks like I still have a bit of work to do.  It won’t wait another 30 years, though.  Better get on with it.