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Engine Shed

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Hang on Studio Wall
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IMG_6882

Paul (Dixie) Dean

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Thought I’d give this a go, it’s of an engine shed similar to the one I used to nip into at Holbeck in Leeds to use the canteen in the 60s. A very dark photo so in using a lot of artistic licence with the colours. I want it to look dim and smokey, still a lot to do.
disc world_Fotor

Alan Beresford

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Posted
 great start Paul. Fascinated to see it as you go along.

Margaret Nisbet

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Posted
Really nicely drawn, interested to see your progress :)
IMG_6882

Paul (Dixie) Dean

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I’ve just added some white smoke to the engine at the back  of the painting, when I look straight at it the smoke cannot be seen but is visible from either side. I’ve never noticed this effect before, has anyone else?.
IMG_6882

Paul (Dixie) Dean

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Progress so far, I’m struggling with my desire to paint every nut and bolt what in trying to do is keep it as loose as possible. Im to not sure if  working loosely will work on something like trains. The odd thing is that the steam and smoke from the engine at the rear is not visible when looking directly at the painting, but can be seen when moving off centre?.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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I can't see the smoke/steam at all - and have tried dodging around....  when painting a subject like this, you CAN go loose, but you've already mapped out your drawing with some care, and I think you'd be best advised to go with that, and forget 'loose' for this one.  Plus, in watercolour you need to have a strong wash, lifting effects like smoke and steam out - i.e., darker than you've got.   How did you indicate that smoke I can't see?  Anyway, you didn't ask for advice!  I just can't resist offering it .....  
IMG_6882

Paul (Dixie) Dean

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Robert I don’t mind the advice at all, I will go with trying to darken the background a little and the lift out the smoke from the stack.

Alan Bickley

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We all work differently, but I always start by laying a mid-range wash across the whole paper, then I establish my darkest tones.  I’m never too keen on leaving cut-out shapes untouched, but obviously that’s how you like to work. Anyway, showing good progress so far, and  like Robert, I also can’t help offering advice!

Edited
by Alan Bickley

IMG_6882

Paul (Dixie) Dean

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Thanks for the feedback Alan, I would normally put a thin wash over the painting but for some unknown reason I have done this differently. I know it not a loose painting as such but for me it’s different and not as tight as I would usually do, as I said it’s even different from the start and changing as I go along. As to giving advice just chip in-as and when, if yer can’t take advice don’t post it.
IMG_6882

Paul (Dixie) Dean

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Well that’s the base colours, I will add some detail but not a lot. This is one of those painting that seem to develop themselves, started as an experiment and is doing so until the end.
IMG_6882

Paul (Dixie) Dean

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The frame is not a permanent one, I will look to a darker colour. I’m ok with the result but in retrospect it could be darker. As an experiment it’s worked well in that I have learned a lot from it, certainly how not to do things, I found it quite challenging but that’s a good thing to do. Thank you for the advice given and comments.

Edited
by Paul (Dixie) Dean