Painting on location on Grey Street, from a sketch book study to a live demonstration in Emerson Chambers.
Painting Grey Street
It’s often helpful for anyone keen on painting to see how other artists tackle a subject. On Saturday 4th September, I was doing a painting of Grey Street for a demonstration at Waterstones book shop in Emerson Chambers. Earlier that week, I called in and spent about 40 minutes on the preliminary sketch book watercolour above.
After drawing out the basic composition in my studio, I was ready to start the demonstration. You can see that there is an initial wash of yellow made up of lemon yellow and raw Sienna. This helps to take away the stark white of the paper and set the tones for the rest of the painting.
Manganese Blue
Once dry, I then began to select specific shadow areas and the sky with washes of Manganese Blue, Paynes Grey and a touch of purple, leaving selected areas untouched where the sun catches the buildings and paving.
I managed to accomplish more than I had hoped for in the time I was there. The fun part was really enjoying rendering the foreground building in a rather loose, impressionistic style, picking out various aspects of the wonderful Georgian architecture on Grey Street. As the scene was constantly changing, it was important to keep the brush marks free.
Often for scenes like this, one has to rely on photographs, but in this instance, it was great to have a mini studio set up with the view of Grey Street right there in front of me.
Watercolour
The danger in painting in the studio is tightening up, loosing the fresh, lively brush marks that one makes on location, so it’s important to keep the “on the spot” studies foremost in ones mind. I managed to move on to the other aspects of the watercolour in the same style.
The figures really help to bring this scene to life. I tried to make sure that they too were painted loose, almost in the same manner as the sketch book study.
Grey Street, Newcastle upon Tyne on a bright, sunny September morning.
Why painting on location matters
Painting on location, with the subject right in front of you, forces you to make quick decisions about light, colour and composition. The light on Grey Street changes by the minute as the sun moves across the Georgian facades, so there is no time to fuss over detail. That pressure is exactly what keeps the brush marks fresh and lively.
Back in the studio, the sketch book studies and notes made on location become the reference for larger paintings. Keeping them close by while you work is the best way to avoid tightening up.
Tips for painting on location in a city
- Find a sheltered spot. A doorway, a café window or, as in this case, an upstairs room gives you a good view without being jostled by passers by.
- Travel light. A small sketch book, a travelling brush and a limited palette are all you need.
- Simplify the architecture. Look for the big shapes of light and shadow first, then pick out only the details that matter.
- Let the figures be loose. A few quick marks are enough to suggest people walking along the street.
More paintings of Grey Street
This watercolour of Grey Street, Saturday Morning went on to be shortlisted on BBC Two’s Show Me The Monet, and I have painted the street many times since, including Grey Street in gold light and Grey Street, Skyfall. You can also watch me painting on location in my painting videos.
If you would like to try painting on location yourself, I offer private painting lessons at my studio in Ponteland, and the exhibitions of the Royal Watercolour Society are a great source of inspiration.