Roy Connelly

I have been painting out in the snow again so thought I would pass on a few tips to keep you warm on your winter plein air painting trips.

The key to staying warm when you are painting in the cold is to dress in layers.  Several thin layers will trap more warm air than one thick layer and can be easily adjusted to suit changes in temperature.  Start with a synthetic (or silk)  base laser with long-sleeves -  I use Paramo‘s excellent and seemingly everlasting thermal clothing.  Next, a number of thin mid-layers, fleece jumpers etc, and finally a water/wind-proof outer layer.

A lot of heat is lost from your legs, so fleece-lined trousers like those made by Craghoppers and Rohan will really help to keep you warm.  Otherwise, get some long-johns.  A pair of waterproof over-trousers can be useful too if it is raining or windy, or just as an extra layer on very cold days.

Don’t forget to wear a hat!  Mine is fleece lined and waterproof, with a peak to keep the low winter sun out of my eyes.  Most importantly it has ear flaps!

I usually wear gloves to paint in winter.  I use thin liner-gloves. These are designed to be worn inside mittens or over-gloves but they are warm enough to be worn on their own and thin enough not to interfere with brush handling.  If it is very cold I will wear another thin pair over the top.

A thermal ‘headover‘ or neck warmer is a great asset.  If your neck gets cold you tend to hunch up your shoulders – making it difficult to paint.  Avoid scarves if you don’t want the end to dangle in your paint!

The secret to warm feet in the snow? Make sure your boots really are waterproof.  If the damp gets in your feet are going to get cold.  I use Muck Boots which are completely waterproof and have a good solid sole.  Avoid ordinary wellies, they might be waterproof but they are not designed to keep you warm.  If you wear leather walking boots make sure they are regularly treated to maintain their waterproofness.  Thermal socks are essential and it’s important to make sure your boots are big enough – you should be able to wiggle your toes even with a thick pair of socks on.

As well as having the right equipment it is also important to make sure you have food and drink with you.  A flask with a hot drink can be a life-saver, but don’t forget that even just drinking water will keep you hydrated which in turn will help your circulation and keep you warm.

After an hour and a half working on this picture my feet were just as warm as when I started and if it wasn’t getting dark I would have carried on with another painting.

Painting Santa Maria Della Salute at night.

I recently spent a few days painting in Venice with fellow plein air painters; David Bachmann, Paul Rafferty and Karl Terry.   This photo was taken on the day I arrived.  I had been up since 3am to drive to Gatwick in the snow and not even darkness was going to stop me painting.

It was an eventful trip with flights home cancelled by the snow in the UK and an unusually high acqua alta of 140cm left more than 55% of Venice flooded.

Rising water in the Piazzetta San Marco

Painting the Salute in the rain.

The fishmarket at night. Oil on board, 10×8 inches.

Here are some of the paintings from my trip to Bath last week.  I was there for 2 and a half days and painted 19 small panels.  The smallest was 6×8 and the largest 12x16inches.  There are several I am quite happy with and a couple that were not finished due to changing light and heavy rain, but overall it was a good trip.

The heavy downpour on Friday afternoon resulted in one of my favourite pictures from the whole trip.

Above: Downpour in Queen Square, 6×8 inches, oil on board.
Below: Busker outside the Pump Rooms, 6×8 inches, oil on board.

While I was painting I met up with the winner of last year’s Bath Prize Plein Air award, Adebanji Alade. He has posted photos of several  painters he found at work on the streets of Bath on his blog.  You can see me, Karl Terry and Michael Richardson as well as plenty of Adebanji at work on his own marathon painting project.

I spent yesterday afternoon and evening painting in the city of Bath.  It’s a great location and much quieter thanWestminster Bridge in London where I was painting today.

It was 30C in London with the sun blazing down on Westminster Bridge.  This one one of the busiest places I have tried to paint.

Painted on the King’s Road in Chelsea this afternoon.  I liked the way the shadows fell across the side of the building. Oil on board, 12×10 inches.

These are a few of the locations I have been painting in this week.  I spent several days painting by the River Thames in Richmond then worked on the beach at West Wittering yesterday.

This afternoon I painted in the company of the Wapping Group of Artists.  The “Wappers” as they are affectionately known are a group of painters who get together once a week in the summer months to record life along the River Thames and its estuary.

Above is my painting of the Golden Hinde.  This 12×10 inch study is in oil on board.  The two small figures hidden in the middle distance are Bert Wright and Geoff Hunt both of whom are Past Presidents of the Royal Society of Marine Artists.

I spent the yesterday painting the snow at Harefield, Great Missenden and  somewhere in the Chilterns (above) – warming up in the car as I travelled between locations.

The wet snow was mixing with the paint on my palette.  Titanium white soon resembled ice cream and my brushes froze but it was a good day.

I will post some photos of the paintings later.

Exhibition preparations were put on hold yesterday because it snowed.  I spent the whole day out painting instead of framing and labeling pictures.  The painting above was one of five.  It measures 16 x 20 inches and is in oil on board.

Last night I painted the wonderful German Christmas market on the Southbank in London.  Here you can see a couple of small paintings on my easel.