Working in the grounds of the mill and the surrounding private nature reserve we will focus on producing a series of completed landscapes by direct observation. For those nervous of working out in the open the secluded location is ideal, at the end of a long track down into one of Suffolk’s beautiful ‘hidden valleys’ between Constable’s Stour Valley and Gainsborough’s home town.
September 2013, 10am – 5pm with the option of staying on in the evening
Where: Assington Mill, Assington, Suffolk, CO10 5LZ
What: Take a look at the pdf brochure
People often ask about the best equipment for plein air painting so here is a look at my kit and some links to suppliers.
I have two kinds of easel that I use outside: a French Easel and a panel/palette holder on a tripod.
The French easel is the one that looks most like a traditional easel. It’s made of wood, has a tray on the back to rest my brushes, brush washer/turps can etc. There is a draw at the front to store tubes of paint and the palette sits on top of this. It’s a very versatile piece of kit that can support anything from a tiny board a few inches high to large canvas four feet across.
I also have a more lightwight kit in the form of a Palette/Panel Holder from Open Box M. This sits on a tripod with a quick release plate and has a small shelf for brushes, dipper etc. A spring clamp system holds panels up to 20 inches across.
The tripod I use with my pochades and Open Box M panel holder is a Velbon Ultra Rexi L. It’s light weight, packs up small and is very sturdy. The legs are able to open out wide which is great for setting up in windy locations and when set up normally it takes up very little room – ideal for street scenes. I recommend using a tripod head with a quick release plate as that allows you to set up and dismantle your kit quickly. I have found a small Manfrotto ball head is ideal, it’s compact in size and rock solid.
Last November on my annual trip to paint in Venice I was joined by quite a few friends from the UK, Spain and even the US.
There were 13 of us in all and this is a short film I made between paintings. We are all in it somewhere although I didn’t catch everyone painting.
It is intended to be a reminder of the trip for those that were there but I though I would also share it with everyone else.
It’s in 720HD so watch it full screen and turn up the sound. I hope you enjoy it.
Paintings by myself and several others on the trip are on show at the Mine Gallery in Carshalton. Impressions of Venice runs until 30 March 2013.
Artists on the film that are in the show are:
Who could resist a sign like that? Earlier this year I spent some time in Cornwall painting from the cliff tops. Although the days were sunny there was often a strong wind blowing across the cliffs from the Atlantic Ocean. I was using my Open Box M palette/panel holder on a Velbon tripod to keep my boards steady. Here are some photos from the trip.
Below: Painting the view along the coast to Pendeen Watch lighthouse from Levant Mine.
Yesterday evening, I spotted a picturesque field with six cows and six calves. They were scattered around the field in a pleasing composition in front of a nice old oak tree. The ideal subject for a painting – or so I thought. But, as soon as I started to set up, they all wandered over to see what the fuss was about. They stood around looking at me for a while and then got bored and wandered off – over the hill!
So, with no cows in sight, I got on with the painting and, after an hour or so, they wandered back and I thought I would be able to paint them. But – no – they just stood in a line with their backs too me. Still no good for painting.
Eventually, they composed themselves in to small groups and I was able to quickly add them to the otherwise empty field I had painted. In a few short minutes, they had wandered off again but the picture was finished.
Cows near Poslingford, Suffolk. Oil on board, 8x12inches, 20x30cm.