Introduction
Working on my large canvas of Drypool Bridge taught me a lot about working on a large scale. I now want to move forward and produce a series of paintings of the same size (canvases 3feet by 4 feet).
The key points that I will develop and concentrate on are as follows:
- negative space (how to use it to maximum value and effect)
- layering (to gain depth to any new compositions), and
- the abstract shapes of objects to achieve greater definition.
I am also going to experiment with working on a number of canvases at the same time. In doing so, my aim is to keep my ideas fresh and move from one painting to the next as I am inspired.
My paintings will reflect my walks around the River Hull area, particularly along the river banks and across the bridges in the centre of the city. From these viewpoints there are some spectacular scenes of changing tides, old, magnificent warehouse buildings, bridges which are feats of engineering, and remnants of a former way of life. Waste spaces have been taken over by plants and buddleia sprout from crevices in walls and rooftops.
First Compositions and Sketches
Canvas 1
North Bridge
In this painting I am setting out to capture the grandeur of the old Hull Ship's Stores warehouse, which has now been converted into apartments. It sits next to North Bridge , a bascule bridge of similar construction to Drypool Bridge, which I have previously painted. The old North Bridge replaced a ferry here in 1541. The current Grade II listed North Bridge was built in 1928-30.
The Hull Ships Stores building, a ship supplies warehouse built in 1870, architect RG Smith, was Grade II listed in 1994.
Initial Sketch
I am using the scale of the building to dominate the picture plane, whilst also working on the distant view of Drypool Bridge, old buildings, wharfs along the river bank and the mud and water at low tide.
Canvas 2
Warehouses
As I walked along the river bank I was surprised by the Georgian architecture which I saw. A particular row of warehouses sparked my imagination and I was inspired to create a painting of them. They depict a number of intriguing doorways and elaborate decoration. The wooden staging posts below have previously used for the tying up of vessels. I feel that the shapes of the buildings lend themselves to some inventive use of negative space. I will explore the opportunities which the view inspires.
My first sketch included a boat which was tied up along the frontages. However, I reflected on the composition and decided that the boat detracted from the architecture and dominated the scene.
Initial Sketch
I therefore altered the composition, removed the boat and created interesting negatives shapes. I will think out the rest of the composition and come back to this painting when I am clearer as to what I want to do with the remaining space.
Sketch with negative space created
Canvas 3
Scott Street Bridge
I have been aware that due to its state of repair Scott Street Bridge has been closed to public transport for a number of years. It has been left in an upright position to enable the movement of river traffic.This is the bridge where Banksy did his mural (see below) during Hull's year as City of Culture.
Banksy Mural, Scott Street Bridge (now relocated)
Construction of the bridge connecting Scott Street in the west with Lime and Jenning streets in the east began October 1901. It is a double bascule bridge. The bridge, bridge master's hut, railings and lamps were Grade II listed in 1994.
It has been decided that the bridge is too costly to repair and unfortunately permission has been granted for the bridge to be removed.
The day I walked around this area the bridge was bathed in bright winter sunshine. The bridge stood proud above the river, and I felt I had to capture the scene before it was removed and lost forever.
Below is my initial sketch.
Scott Street Bridge, first sketch
Conclusions and Next Steps
I found that trying to work on three canvases simultaneously was disconcerting. Instead of inspiring me, the process acted as a deterrent. It slowed me down.I think that the prospect of working on so many large paintings was too daunting. After a period of reflection, I decided that my key reason for not taking to the process was that I prefer to get immersed in one project. Consequently over the previous few weeks I have concentrated on the painting of Scott Street Bridge.
