The Creative Process on a big Scale

Usually my largest paintings are created back in my studio, once I have gathered my inspiration outside. A board 100 x 70 cm becomes a sail when you're out in the wild, making it very difficult to work on, so I tend to work on a smaller scale.

This is how the big works evolve.

Deciding where to go, to gather inspiration is the first step.

A few weeks ago, I headed out to one of my favourite spots on the Isle of Skye.

The weather was perfect, lots of sunshine in between a cloudy, showery sky, a strong wind keeping things moving. The tide was at it's lowest, known as the March Royal, perfect ! This meant I could walk further around the coast to a spot I hadn't painted from before.

With my rucksack full of art materials and a pack of small papers and a board, I headed off. As the tide receded, I walked along the tideline, constantly looking back at the composition. Eventually I picked a spot and began.

An ink and pastel drawing and a black ink drawing in my sketchbook

Working really quickly to get down the essence of that moment,

capturing the hills before they are lost in the fast moving clouds,

seeing the light on the water bring out those tempting, turquoise hues

the dark, black seaweed, a wonderful contrast to the pale, light sand.

Propped on a rock

to catch the best composition,

as usual

art over comfort.

I get swept up in the moment

the wind keeping the marks free

the sound of the water and waders around me.

I walk back around the tideline to a sandy spit, that leads to a rocky outcrop which gets cut off by the tide.

I'll be fine for a while.

Again, the best composition seems to be right in the teeth of the wind.

I tell myself my reward will be a cup of tea over by those rocks, in the lee of the wind.

I work with washes of acrylic ink, spattering them onto the paper with a great sense of freedom, allowing the colours to mix and pool.

Eventually the wind dries the ink, allowing me to define parts of the drawing with my soft pastels.

Now for that cup of tea.

Back in my studio, I have the paintings around me and I also have photographs to work from to create my larger painting.

These smaller works take me right back to the shore and remind me of the intensity of the wind and the changing light on the land.

I do a couple of sketches to decide on the best composition.

Then I get down to it.

Click to see the full image

I'm always trying to keep that spontaneity that you get with a work painted outside.

I splash the paint onto the board, knowing I can always tame it later.

It's a case of push and pull, loose and find, blur and refine.

I build up the painting in layers of acrylic inks and watercolour.

I start to draw in the outline of the hills in the distance.

Darker colours are added to give the density of the foreground rocks.

I allow the inky washes to mix and bleed, giving me little surprises.

I just love those parts that paint themselves.

Eventually, after all the liquid layering, I begin to define areas with soft pastel.

Just teasing out enough detail to tell the story.

Some areas are left as they are, softer, less defined, to give a nice balance.

Gradually the painting takes shape.

Each day, coming into my studio, I get to see it with fresh eyes. It's always good to get away from it for a while, as you can become blind to it.

And then you have to decide when to stop.

Sometimes this is obvious, at other times not so.

Finally it's framed up and ready for showing.

This painting "Treasures at Low Tide" will be on show at my Solo Exhibition in Isle Ornsay on the Isle of Skye from 8th - 27th May.

The Gallery An Talla Dearg is such a special place to display work.

The gallery sits at the top of the pier, the sound of the waves drift in through the gallery doors, creating a wonderful atmosphere.

If you're on Skye in May, come along and have a look and a chat.

If not I'll be putting all my new work up on my website just beforehand.

Until next time, thanks for reading,

Helen