Gates of Trinity College, 10x13in, oil on board
The clouds came back after an hour or so which meant for the last half an hour I was pulling things together and working partly from memory. I figured it best to do this on the spot though whilst it was all fresh. I liked the contrast of the feathery little tree on the right with the solidity of the stonework (admittedly the little tree is further to the right but I wanted it in the painting).
On Sunday I opted for the open countryside at Ivinghoe Beacon. I'm quite taken with the airy atmosphere you get on clear days and wanted to see if I could get a sense of being perched up there and looking into the distant haze. It's not easy finding a spot where there are enough compositional elements to latch onto but after wandereing around the slopes I settled on a portrait format.
The tonal range was quite narrow and I didn't want to destroy the 'cushion of atmosphere' as Ken Howard calls it. There's not a huge amount to latch onto but I like the challenge of working with the open space and the subtle shifts in tone/colour. The rhythms of the roads and fields is quite tricky to manage and I move them about to try and make the composition work better. If nothing else it's a good learning curve that might open up other avenues. Maybe the clouds need a bit more tonal adjustment but I'll let it rest for a while. I still haven't decided if the foreground trees would be better in or out......