I’m working on a white gessoed ground, and started by drawing in the main structure of the building, using a No2 Jackson’s Round Black Hog, loaded with Old Holland Light Red oil paint. I’m always conscious of getting these initial structures upright, it is important, so I used a plastic T-square to get me started with some degree of vertical accuracy – so much quicker than measuring!

Once these structures were in place, some swift blocking-in with the same colour, an indication of the land mass behind, and all set for the next stage. It’s my intention to keep this painting both loose and expressive, that means no fiddling around with detail, I want spontaneity, not a laboured work of art!

I always work in thin layers, irrespective of the subject. This way, I am able to build up my colours and always be in control of what’s happening. Sloshing thick paint blindly around, in the hope that something decent will develop, is not the way to go! Work methodically and with purpose, dark to light preferably.

So, I strengthened the main structures, using Naples yellow light, plus varying shades of ochre that I had laid out on my palette. The shadow areas were then re-defined, again using Light Red and ultramarine as in my first stage. A quick initial blocking in of the sky with a turpsy wash of cerulean blue, adding just a touch of quinacridone red nearer the horizon - that’s stage 2 completed.

A layer of similar colours to the previous stage was applied to the buildings, again strengthening the shadows, these are always thin layers, as is my style of painting – building up the painting slowly and methodically – this method of working helps you to see how it’s all progressing, making any adjustments necessary.

Now to concentrate on the background, mixing a few strong Mediterranean greens, and indicating a few bits of foreground shrubbery. Further strengthening of the sky, and it was all starting to pull together nicely. The painting had areas of varying interest, the composition was balanced and tonally good – now to pull it all together in the final stage.

When it comes to adding the final layer, it’s basically a matter of thickening up slightly on the oil paint applied, strengthening some colours, and adding something of your own style.

Starting with the buildings, redefining some walls and windows, keeping these random and loose – this is my interpretation, I don’t want them tight and accurately spaced. One or two lighter highlights were dropped in on the walls, I’m looking for multiple colour shades, rather than one single flat and uninteresting colour – this is where working in layers helps.

After closer inspection, I felt that the shadows, which are an important element to this composition, were a touch too reddish/brown, so a thin mix of a blue/grey colour was added, that definitely looked better. The sky needed some strengthening, so a thick application of cerulean blue established the bulk of it, with a layer of cobalt blue to the top, feathering that in carefully. Again, a light application of quinacridone red to the horizon set the ambience of the scene nicely.

After re-establishing the land mass, dotting in a few light-coloured buildings in the distance, strengthening the foreground vegetation, the painting was complete. It’s so easy to continue adding bits of detail here and there, but you have to ask yourself if this is really going to help – that answer is usually a resounding NO, so don’t!