Two Kiln Oast, Newington

After a day off, I’m back to building a collection of paintings of Newington. Today I picked out a converted oast house next to the church.

It’s another posterised painting, this time using my amber colour scheme, so that’s. Layer of transparent yellow, a layer of Winsor red and a layer of ultramarine blue. This colour scheme always looks powerfully bright and sunny. Before my source photo through the Notanizer app today, I reduced its sharpness. I think this is the way go for landscapes featuring buildings, otherwise the value plans get far too detailed. Portraits and other landscapes are fine: it’s just landscapes with buildings that cause me problems. Apart from that first step, there were four other things I did differently to normal:

• I used masking fluid to reserve some yellows after the first layer and some oranges after the second. Actually, this might become the new normal.
• For the greenery, I deliberately used a Terry Harrison foliage type brush to stab marks in, just to distinguish them from all the urban lines in the rest of the painting
• I saved the sky until the very end of the painting, wanting to see how everything else turned out first. Another practice that might become the norm for these posterised paintings. I used all three colours wet into wet and dabbed off a lot of the paint with kitchen paper.
• The telegraph wires were added at the end, using a mix of the red and the yellow.
• And I finished with some red and blue spatters in the foreground and sky, for a bit more relief from the posterised style that’s dominating things.

And that was me done. I think this one’s OK, even if I’m wishing the details of the building were a bit clearer. The feeling of bright sunlight definitely comes through, though, and I can feel the heat on the inside of that truck cabin. It didn’t sell at the Newington church do, not even to the owners of the house (because, unfortunately for me, they didn’t own the truck), so it’s now up for sale in the shop window.