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Martin England Art
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This is the compositional drawing.

This drawing is on A3 paper and quite detailed compared to previous work. The reason being that there were multiple reference photos which needed pulling together into the final composition.

Also this needed to be accurate to allow the transfer to canvas to be quick and accurate.

Note that there is no shading yet as the main light direction is not decided.
Onto canvas.
This is a medium weight stretched cotton canvas.

Thinned out oil paint is used, with an old, worn out brush, to get the main outlines on.

Whilst it’s still wet, this applied paint can be scrubbed off to a degree (as can be seen with the remains of the grid, that was used to transfer the drawing).

When dry, I’ll then apply some gesso (white underpaint) to areas which will be white in the finished painting.
The main colours have been blocked in. These tend to be close to actual and this starts to give a feel for the overall composition.

At this stage the aim is to get the reasonable accuracy to make the subsequent stages easier and avoid large corrections later.

As this has been composed from various from photos,  the tricky bit is making sure the perspective looks correct - adjustments have already been made since the outlines were painted. Some more will be needed.

The painting will develop from background to foreground.

The sky is almost finished - the clouds give the painting an additional sense of depth and also different texture to the harder lines in the foreground.

Modifications were required to the distant houses as the roof was too deep - chimneys still to be painted back in.

The main new work has been to the mid-ground terraces. My intent is to suggest the detail without actually adding too much, as this would have the affect of flattening the picture.
Further reworking of the background houses and detail added to mid ground terrace.

The high contrast in the roof windows may need some adjustment later as they may come forward too much.
The main pavement areas now blocked in, which takes away another area of white unpainted canvas.

The addition of the roughed-in junction road markings help to fill the large space in the foreground and lead the eye into the picture.

Although not finished yet, the foreground has been painted in. Because oil paints stay wet for ages, the darker patches in the road could be applied on top of the wet main road colour then blended in.

The height of the buses had been increased, because they looked too small against the houses.
The last areas of white, unpainted canvas have finally gone - this always makes the painting appear closer to completion.

The detail will now be added to the buses as well as some people!

The tricky bit, with the buses, will be getting the top windows to look correct - because they are above the eye line the sky will be reflected off them but also what’s inside and beyond them will also be visible, but not strong in form or colour.
I changed my mind on the upper deck windows - decided to have the background more visible.

Painting the people in adds some life to the picture.

Pretty much all detail work from now onwards.
Rear end of the foreground bus narrowed.

Details added...
Lots of detail been added, particularly to the buses. Although a time consuming stage, this is where the painting really comes to life.

Note the slight difference in colours, from the last photo - caused by slightly different white balance from the photo.

The last few bits of detail to add then check with client for any last minute additions/changes.
The painting is now completed.

This picture shows the correct colours - photo taken using corrected white balance.

Click on the image for a larger view.

This is a commissioned oil painting, on a stretched 70x50cm canvas.


It’s the 1960’s and two London buses pass on a busy street in Harold Hill, Essex...


Follow as the painting  develops...

“Ingrebourne Journey”