Painting on Location

One of the most satisfying and rewarding disciplines I do as a painter is getting up early to capture the early morning light in watercolour. Over the last couple of years I’ve been fortunate to spend a week in Norfolk over the summer with my family, following in the footsteps of some of my watercolour heros, particularly Edward Seago.
Alan Reed
12″ x 9″ Original Watercolour of Burnham Overy Staithe
Burnham Overy Staithe is a painters paradise. The low lying land means you get the extremes of either low or high tide and of course the dramatic big skies which are always a challenge to paint. This particular scene was commenced about 6am at low tide with the sun attempting to break through the grey clouds which were scurrying across the sky.
As usual, I tackled two paintings, one in my sketch book, the other on a 12″ x 9″ Arches watercolour block of rough paper. The advantage of doing this is that whilst one is drying, you can crack on recording the ever changing scene with the other painting. One can keep alternating between the two, so the whole process is a very intense painting period. The sketch book study is always the more simple study, mainly because it is smaller, therefore one does not have as much space to fit in detail. There is no pencil work in either study as I prefer to “draw” with the brush directly on to the paper. This means you get a very expressive free brush stroke which brings a freshness to the work.
What I have ended up with is two, quite different renditions of the same scene which I hope to work up into a much larger painting at some point in the future. The photograph provides some valuable topographical information to supplement the watercolour studies. The challenge with the studio painting will be to retain the spontaneity of the location paintings.

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