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Down the lane, Arranmore, Ireland

This is a follow on from my last post about composition and large landscape paintings. Included a small study of a view of Arranmore, Donegal. The study used a diagonal composition.

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Study 10cmx14cm (SOLD)

 

A Beginners Guide to Composition
A Beginners Guide to Composition (Diagonal Composition)

When it came to a much larger painting (60x80cm – approx 24″ x 32″) I decided on a slightly different composition. It wasn’t that I didn’t think the small painting worked, because it did, but because paintings in the “landscape” format are more popular with collectors than those in “portrait” format. It might have something to do with wall space, I am not sure. If you are not sure what “landscape” and “portrait” format is, it’s just about which round the painting is positioned. “Landscape” has the longest side along the bottom, “portrait” has the shortest side along the bottom.

Landscape format allowed me to include the sweep of the hill as it fell away from the viewpoint towards the sea. This composition used the rule of thirds, so the painting has a different energy to the study.

Beginners Guiiode to Composition (rule of thirds)
Beginners Guide to Composition (rule of thirds)

 

landscape painting of Arranmore Island, Ireland
Down the lane, Arranmore (SOLD)

The position of the viewer is slightly different, it has moved to the left and so more of the house in the foreground can be seen. The larger painting also has a red tractor in the lane, which the study did not, which draws the eye down the lane: hence the title.

Detail - Tractor
Detail – Tractor

I particularly enjoyed painting the different textures of crops and grass in the field that were not visible in the study painting. The widened composition also included the large cross on the shore to the left. I did not realize it at first but the wall in the corner of the painting is a graveyard wall. This is the graveyard of St. Crone’s chapel.  Saint Crone was a sixth-century Irish saint descended from King Niall Noígíallach (‘of the Nine Hostages’) and a contemporary of Saint Colmcille (St. Columba of Iona). Saint Crone was very active in the Rosses area. The parish of Dungloe on the mainland also takes its name from her; Templecrone.

Detail - The Cross
Detail – The Cross

So executing a study can be a useful tool in thinking about the composition of a larger work. It will show if a composition works or not but it can also suggest improvements and variations. Interestingly the study is a painting in its own right, it has a different, lighter feel to it. Small paintings often take just as much thought and effort as larger ones even if they are quicker to execute.

My PC just crashed. I am not sure if that’s a result of the effects of Storm Dennis (we had downpours all night long here) but I am going to stop here!

 

 

landscape painting of Ireland_Emma Cownie
View From Arranmore, Ireland
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Landscape Painting – Rural minimal

Last summer I started my series of “Urban Minimal” paintings of the streets of Brynmill, Swansea. These paintings were my “Hollowed Community” project which were exhibited in the that year’s Madeinroath Festival. That’s not a typo, by the way. The festival organisers stipulate that you type it as one word Madeinroath, rather than three “made in roath”. Roath is a suburb of Cardiff, by the way. They also stipulate that the “in” in “Madeinroath” has to be in red too. It’s driving my spell checker crazy!

My “rules” for composition and painting this project were:-

  1. No cars

2. No People

3. Bright light. There must be shadows – at diagonals if possible.

4. Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.

These rules worked well in an urban setting, especially with the sea light we have in Swansea.

Since then, I have been caught up in my Gower Coastal Walk.

Worms Head Coast Watch Station
Worms Head Coastwatch Station

By my calculations, I have three, maybe four more Gower walks to do in order to complete the length of coastline but other commitments are keeping me from finishing. Firstly,  I have a pile of exam scripts to mark. I am rusty and I mark slowly these days. Secondly, a summer virus has made me feel under the weather.

I haven’t consciously applied the urban minimal rules in a non-urban setting. What’s the problem? The applying Rule #1. “no cars” and #2 “no people” rules is easy enough. As is #3 “Bright light”. Then there comes the difficulty. The second part of Rule #3 “There must be shadows – at diagonals if possible.” Walking late morning, mid-day day means that there are few long shadows and they are difficult to find on beaches too. Although, there have been a few.

Langland.jpg
Langland (SOLD)

 

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High Tide at Three Cliffs Bay  Limited edition large mounted print  (free postage)

Finally, Rule #4 “Simplified forms – there must be little detail in the final painting. I want to explore the interplay of the geometry of shadows and man-made structures – the tension between the 3D buildings and the 2D shadows. Simplified blocks of colour.” I never really followed this rule to the letter as I thought details, such as window sills, and reflected light on glass, breathed life in pictures. It was knowing where to add detail and where to simplify that was important.

Coloured Sands at Three Cliffs
Coloured Sands at Three Cliffs Bay 

Limited edition large mounted print (free postage) 

Here, I have just been very cautious about going “too far” with this in a rural setting. But I have been edging that way, such as with my treatment of sand. Other aspects of my composition such as clouds and vegetation have not really been “minimal”, not in a conscious way anyway.

I think I need to challenge myself and make myself think about how I am tackling these subjects. I think my recent paintings of rural buildings (that’s cottages to you) has been much more successful.

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Port Eynon Shadow (SOLD Oil on Linen Canvas, 46x38cm, unframed)

You may well say are just rural buildings instead of urban buildings. Yes, but they are stepping stones. I am still thinking about how I apply these rules when there isn’t a building in the picture!

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Afternoon in Port Eynon (Oil on linen canvas 33x41cm unframed) 
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Port Eynon Corner (SOLD)

If you want to buy any of these painting clink on the link below each painting or look through my Buildings and Streetscapes gallery.

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