sunset Archives - Salcombe Art

28 January 2019 In Art, Postcard from ...

Postcard from MV Ventura: Sketching at sea

Whenever we go travelling, I pack my watercolour kit and various sketchbooks of various sizes and make time for sketching.

Our ritual, as soon as we arrive at a new place, somewhere we will be staying long enough for Anne to write and me to paint, is to set up the space to suit us both. Our cabin aboard MV Ventura was perfect for our needs. And what a view!

Our cabin | Postcard from MV Ventura: Sketching at sea

Anne bagged the ‘dressing table’ as her office space, and I took over the ‘lounge’ area. Some shelving beneath the TV held all my equipment and I used the small coffee table for my palette and to rest my sketchbook.

We were aboard MV Ventura for fourteen days and seven of those were at sea. This gave me plenty of time for sketching.

Water, water, all around …

For the first two days, crossing from Southampton to Lisbon. all we saw from our balcony was the sea. And ships. And even more ships and drilling rigs whenever we went into port. With my marine insurance background, I found this fascinating and took many photos. So much resource material, so much inspiration for my sketching, but never enough hours to paint everything!

Drilling rig | Postcard from MV Ventura: Sketching at sea

However, I did sketch a few cruise ships and captured the landscape when we were in port.

Sketching Queen Victoria

One of Anne’s friends cruises regularly. We met her and her husband for lunch in Madeira a few years ago. We were staying in Funchal over Christmas and New Year; they were due to arrive on New Year’s Eve, in time to see the fireworks that night. This time, they were aboard Queen Victoria and – because our itineraries had us both in Madeira on 31 December, we planned to meet up at the same restaurant for a catch-up. Imagine our surprise to wake up the day before, to see their ship just across from ours.

Cunard moored | Postcard from MV Ventura: Sketching at sea

As it turned out, we should have made the effort to meet that day. Once we got to Madeira, they were moored off and the sea was too rough for them to be allowed ashore on the tenders.

This sketch is of Queen Victoria sailing off into the sunset.

Cunard sailing away | Postcard from MV Ventura: Sketching at sea

Sketching in Tenerife

We’ve visited Tenerife before and we were not inclined to go ashore that day. The sky above the mountains was black, and we’d not been attracted by the various tours on offer. Instead, we enjoyed relative peace and quiet aboard ship. Anne did lots of writing and when I wasn’t taking photos, I was sketching . Bliss!

Tenerife | Postcard from MV Ventura: Sketching at sea

Sketching in Madeira

We’ve also visited Madeira many times but never aboard a cruise ship. The day we arrived (31 December), it was a full house.

Madeira | Postcard from MV Ventura: Sketching at sea

We walked ashore in the morning and returned to the ship in time to avoid a downpour. As you will have seen from a previous post, the rain abated, almost, and the New Year’s Eve fireworks were spectacular.

This post is one of my POSTCARD series, sharing all things ART with you when I go travelling. My previous postcard focused on edible art.

Next week’s blog shares more of the art we discovered ashore. If cruising appeals to you, visit the P&O website.

19 March 2018 In Art

Salcombe Art Club Exhibition Preview: Noss Mayo Sunset

Noss Mayo Sunset is one of a crop of six new paintings destined for the Salcombe Art Club Summer Exhibition.

Today, I am collecting them from the framer, just in time for the handing-in day on 24 March. If you’d like to purchase one of them ahead of the Exhibition and save 10% on the price (they range from £500 to £750), contact me to arrange a private viewing urgently!

What was I doing admiring the Noss Mayo Sunset?

Although I now live in Salcombe, and most of my paintings feature scenes near my home, the two villages of Newton Ferrers and Noss Mayo are also close to my heart. This idyllic estuary has had me under its spell since 1968 when my two children were young, and we would rent Rose Cottage, next to The Dolphin.

At low tide, there are causeways to help pedestrians cross the water between the two villages. So, if the tide was out, we’d cross the causeway on foot. We often ate at The Ship and enjoyed the views across to the Swan Inn. If the tide was in, we’d visit the Swan Inn by boat!

I have very many happy memories of those times and still have friends living there.

All the hostelries offer excellent food and are ideally sited from an artist’s point of view. Decades later, it’s a treat to venture away from Salcombe now and then and to enjoy such picturesque scenes. Anne and I often take house guests in that direction.

So, imagine me, with friends, on the way to a pub at sunset. Of course, I have with me my camera – two actually! – and I had to shoot the ‘light moment’ of a beautiful day to capture this image of all those craft moored up. Then, once I start taking photos, I can’t stop. And once I’m back home in my studio, it’s not long before I’m compelled to start painting …

Many of this most recent crop were painted in oil. This one is an acrylic. Why not an oil? No reason really, except acrylics dry very quickly and are easily carried to and from my art classes in the Loft Studio.

It’s not quite square so it’s been cropped to create a fine art greetings card. Can you spot which bit Anne cropped?

20 November 2017 In Art

Work-in-Progress: November 2017

An artist’s work is never done – and here is an update on my work-in-progress.

What do artist’s do when the ‘season’ is over?

House portrait: preliminary sketch of Anne’s daughter’s home in Melbourne, Australia

Once the SHAF Arts Trail is over – that’s at the end of October – you might think artists put down their brushes and take a holiday.

Most years, that’s precisely what I do!

Every three years, Anne and I visit her daughter in Melbourne. We aim to spend at least seven weeks travelling and, although I take a minimal watercolour kit with me, the time is mostly spent with family, and relaxing. We enjoy a well-earned rest. However, this is something I painted during our most recent visit: a house portrait of their home. This is just the sketch; the finished painting is on their living room wall.

Every three years, we also spend the Christmas holiday somewhere else by ourselves: Malta or Madeira, anywhere warm … and again I take an art kit with me. I tend to spend more time painting on these holidays but only because Anne is usually busy with a writing project. In our apartment, we set up our separate corners – a studio area for me, a writing desk for Anne – and only meet up for walks and meals! It’s a complete break from our usual routine and, even if we are only away for a few weeks, we need that change of scenery to recharge our batteries.

Every three years, and it’s this year, we stay at home – to play host to friends and family at this special time. This is also my chance to catch up on my painting. The real stuff. The paintings I need in stock ready for the start of the next season.

And Anne is very busy, writing her latest NaNoWriMo novel, so I’m grateful she’s made time to type up my blog for me.

Studio update

My new studio space

While we were away last Christmas, we had a lift installed so that our home is wheelchair friendly. This was very much appreciated by at least one visitor to our home during the SHAF Arts Trail fortnight in October.

In the redesigned part of our house, I now also have a new studio. It’s larger and lighter than the previous one, and it’s already full of my ‘stuff’. It may look a bit of a mess to you, but I know where everything is.

Work-in-progress

You’ll notice, on the far wall, the gallery-style strip at ceiling level. There is almost invisible plastic ‘wires’ hanging down on which, in other areas of the house, I hang pictures that are available for sale. In my studio, I’ve devised a system of bulldog clips to hold my work-in-progress paintings. You can see three of them on the right, and there’s another on the easel.

Yes, there are quite a few! And there are more – mostly oil paintings – drying in the airing cupboard.

At the moment, only one of these paintings is signed. I sign my paintings when I feel that I should do no more to them. A signed painting is, therefore ‘finished’ and ready for the next stage.

Are any finished yet?

A finished, signed, painting ready for the next stage

Only the one so far … as you can see, it’s an oil, on board.

My handwritten notes to myself are still visible, as well as the guidelines for the photographer.

It is square in shape and therefore ideal as a fine arts greetings card. No cropping necessary …

What happens next?

Good question! Before any of my paintings are varnished or framed and made ready for sale, I have them professionally photographed.

Rather than taking paintings one at a time, I batch them. So, two or three times a year, we book a session with the photographer and trek into Plymouth for the day.

Ahead of that appointment, Anne and I sit down together and confirm the sequential number of each painting – this one will probably be number 136 – and its title. This data is added to the computer records of my art, and also written on the back of the painting for identification purposes.

Because I paint a limited number of scenes, coming up with an original title can be a challenge. It can’t just be the place name. I need more. Low tide at … Dawn at …

Sometimes, especially when I have decided to paint one scene in different media, or in different sizes, we resort to Roman numbering: Salcombe Dawn I, Salcombe Dawn II, Salcombe Dawn III, …

Having decided on the number and the name for each painting, and recorded it, we forward that information by email to the photographer so he knows how many paintings to expect and can name his electronic files in such a way as to avoid confusion. This is especially important when I have a series of very similar paintings.

And then what?

I leave the original paintings with the photographer for a few hours, and Anne and I make good use of that time, shopping in Plymouth.

Then, I return to the photographer to see the results of his work. The images he has taken are printed onto good quality paper, so that I can check the colour match against the original. And, at a later date, I can arrange to have giclée prints made – knowing the print will be as close in tone and hue to the original as possible.

And then we put all the originals back in the boot of the car and head for home.

Job done … except then, I need to make time for varnishing the acrylics and oils and book the framer.