I have been so busy and there are lots to post. Like letting you know my SOLO EXHIBITION OF THE BATH MARATHON starts off on Saturday 4th December, 2010 DV at the Bath Gallery, posting all the pictures from my 4th Marathon, doing quite well at the Affordable Art fair, I sold 7 paintings through Enid Lawson Gallery.I am still recovering from my 4th Bath Marathon. The 4th Bath Marathon was really a battle rather than a marathon, but I REALLY thank God for seeing me through. The weather went really cold, at one time is was 2 degrees while painting on Cleveland Bridge......I'll have loads to tell on that.
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Adebanji with painting-I had just finished painting the Golf course and had to rush in with my painting gear still on!(I was late)
But for this post I just want to highlight that one of my paintings, "Morning Light, Pulteney Bridge" was on the front Cover of the Bath Magazine. This painting was featured during the Bath Prize and it was auctioned with the proceeds to go to Dorothy House. There are 125 limited edition prints available, if you are interested you can contact the Bath Gallery.
COVER STORY ON PAGE 26, October issue
I am also using this post to show stages of how I go about a studio painting like this. Which is quite different from my normal direct method of painting plein air.
Editor of Bath Magazine with Painting
STAGE 1-SKETCHBOOK, VALUE PATTERN AND UNDERLYING ABSTRACT DESIGN
Here I plan the value pattern and underlying abstract design, it is here I make sure that everything works with the balance of light and shade. I also want to make sure the big shapes all work from the start. I make sure I can direct the viewers eye through the painting as you can see with the arrows and direction here.
STAGE 2-MONOCHROME WASH
After sketching the main elements in, I make an under painting of a warm monochrome since most of the painting is going to have cool morning blues.
STAGE 3- BLOCK-IN
I block in the main colour shapes here- the aim is to make sure I cover the canvas.
STAGE 4- BRINGING IT ALL TOGETHER
Here, I now start tying it all together making sure every element has the right colour, texture and value. Also, I make the brush strokes communicate feelings I had when I witnessed the scene.
STAGE 5- FINAL PAINTING
Now is the time to bring in the details and make some heavy structured, thick marks and strokes to bring out the reality of the scene!
