Landscape Painting on iPad

This image was painted from memory of my time in Cumbria, the English lake district. The mountain range in this region was carved away during the last ice age. So the valleys have quite steep slopes and cliffs either side owing to the action of glaciers. Although the fells are not all that high they are very rugged, and covered for the large part in trees. In fact from the road the trees tend to block your view as you can see.

By contrast the place where I live in Lancashire is very flat. On the boundary of Chat moss: an ancient peat bog that was drained much later for farming purposes. In fact I live by the biggest drain of all, the Manchester Ship canal that runs from Liverpool to Manchester. However, there are not any high vantage points to view the moss from so the image below is a bird's eye view which I did entirely from imagination. The mountain in the distance on the far right is known as Winter Hill.

On the other hand, this tiny enclave is a part of Chat moss that is easy to miss from the road, and leads directly to the farms. As you can see it is painted in a more realistic fashion taken from a photograph.

Moving westward into Wales the next image is of the Vale of Llangollen painted again from memory and imagination.

Again, the following is my impression a typical Welsh valley that I did in the context of a thumbnail sketch, hence the rather rapid strokes which I prefer because they activate the surface and animate the composition more.

In a more fanciful fashion this next one could be almost anywhere in the world, but reminds me again of being on the slopes of the Lakeland fells. Except that the colours make it look rather more exotic.

Overlooking the Mersey estuary is the lovely village of Frodsham. This is painted from memory of the escarpment above the village, which I did in watercolour on my iPad.

Another watercolour, of a field with trees, which again, could be the backdrop to any rural setting.

In the next image I got a little carried away with creating a textured surface to evoke the sense of a mid, to late twentieth century modernist style of painting. To be honest with you I love this way of working because it is so much more adventurous.

In fact, here again in the following two images I expand on this modernist approach to produce something equally exotic and stimulating on the eye. Albeit, a little less frenetic in character.

I shall finish with two more images that were intended for illustration purposes only. One is of a grave yard overlooking a valley in autumn just as the leaves are falling, and the second of the Grand Canyon in America which I have never visited, but have always wanted to. Although because of the bright primary colours it does tend to look like a backdrop to a Walt Disney cartoon.

Figure Painting on iPad

What I particularly love about painting on my iPad is that when it comes to painting the human figure from memory and imagination I can work with such speed, and am able to erase my mistakes so easily. The layering process on my app, ArtRage, also makes it possible to create irregular patterns of such complexity they can bring a simple drawing to life in an instant. This image of a rather awkward looking teenager came about entirely by accident. I tend to throw down a few simple lines in pencil with a vague idea of a figure in mind, then try to visualise what that person might be doing. If I cannot see anything of interest I erase and start again. This happens on a regular basis and why, with iPad I don't need to have any concern about the amount of paper I am going through. However, because I can create such variation on this devise I am prone to change my approach with each image, and can so easily loose any sense of consistency. Here are two more examples to show you what I mean.

I did all three of these last night, and as you can see they have absolutely nothing in common; subject wise at least, though the background is familiar. I have to admit I do get bored with repeating myself. Although I am slowly developing a formula, and maybe in time will find what I am looking for. Until then I shall continue to entertain you with my thoughts and images.

Figure Painting on iPad

I love painting the human figure from memory because it really tests your skill and knowledge of anatomy to the limit. I don't begin with anyone in particular in mind, or vision of how they will appear when I have finished. I just start drawing and then add colour. Sometimes I begin with a quick outline in pencil, or in silhouette. Such as if I am wanting to capture the figure(s) in a certain pose. Here are three examples of what I mean...

And so on... Although they finish up more as characterizations than of real figures for this reason. To my eye at least, they appear more animated and alive. Unless that is, I am copying a figure from a photograph, or from direct observation. If not, then I avoid trying to be too precise for fear of overworking the painting. The image below is one exception, in which I was trying to capture a figure of a young dancer in a typical Degas like fashion: posing with her head held back and eyes closed as if resting, or contemplating her previous movements. In this case therefore, I wanted her to be as life like as I could make her, which was difficult but not impossible.

Portrait of Lucy. Oils (1992)

Lucy is the daughter of a neighbour of mine. Although she was only about nine, or possibly ten years old when I painted this she is taller than me now. I was taken with her very pretty eyes and long blond locks held back with a small ribbon. I just had to paint her, and asked her to sit for me.

Because my studio is rather small, my intention was to execute the painting looking through a large mirror I had on the wall. To give me more space to position my easel without blocking my view of her. However, I soon realised this was not going to be as easy as I had imagined. As I turned towards the mirror I discovered there was nowhere to plant my large studio easel without it getting in the way. It was then that I turned to face Lucy and discovered she has positioned herself on the tall wooden stool looking directly out of the window at the view. It was perfect. "Stay just like that Lucy," I said, "and stay perfectly still." In fact she did. She never flinched a muscle and in about three hours I had completed it... with a short break in between of course.

Lymm in Cheshire. Pastel on Paper. (1986)

This was a painting in pastel I sold recently to an old school friend of mine who now lives in London. It was a cold, but beautifully clear Boxing day and very calm, when I decided to pack my equipment in the car and look around for something to paint. I had Lymm in mind because it is an attractive village close to home. So I didn't have far to travel. Although I wasn't quite sure what I was looking for other than to capture something of the buildings close to the Bridgewater canal. I couldn't find anywhere to position my easel without causing a problem for people shopping and of course having to paint the road with all of its traffic, which tends to be quite bad for such a small village so far from the motorway, and with only one major road running close by. Then again, it was Boxing day, and most people would be still at home. I found this spot to work, which has a broad pavement leaving plenty of room for people to pass without bumping into me. The stream over which the buildings are perched is in a gully, and because it is narrow you cannot see it from here. Nevertheless, I had a good view of the buildings if only from the back. It took me two long days to complete and is quite large for a pastel painting.

Self Portrait in Oils (1984)

This self portrait was not created on iPad. It's for real. A painting I did when in my mid-thirties, in oils. I was; and still am to a degree, influence by the impressionists. Although Cezanne made more of an impression on me than anyone at the time, hence the planes of colour on my face with which I was attempting to model my features... Or should that be modulate? I still cannot understand what he meant by that exactly, but the planes of complementary colours do appear to provide a more chiseled appearance to my face. Accentuating my cheek bones and rather large nose. Not that I could produce anything quite so exotic as Cezanne; or ever hope to match his style, but then I put this down to the fact that I was still trying to hone my technique. To produce something that was more unique to me.

Abstract Painting on iPad

I love working in the modern abstract style. Essentially for the fact that I can work with great speed on iPad, even though it takes me a good half hour or more to complete each painting. The reason for this is down to the fact that I am experimenting with fresh new ideas, and am having to feel my way along. I enjoy coming across those happy chance finds that take the work in a completely different direction every few minutes or so. The image above is a landscape with two rather exotic looking trees in it. Although it was not my initial intention to create a landscape, as I progress I sometimes begin to see shapes that have something a passing resemblance to what I have seen in nature. The following images are four more that I did today.