CHRIS ROBINSON RIBA likes the unpredictability of the weather, light and atmosphere. Here, he paints Oliver’s Island at Strand on the Green near his home in London

This is a view close to where I live. It is Strand on the Green on the River Thames, and the subject is Oliver’s Island. The island, or ‘ait’ to be precise, took its name from a story that Oliver Cromwell once took refuge there. A myth, of course.

I liked the cloud reflections in the Thames, which you don’t get so often downstream. The river is tidal so the scene will change, but that was the message I wanted when I set up my easel. I try to simplify everything I paint and complete the painting in one session. This view seemed an obvious choice.

I paint outdoors because I love to be surrounded by nature. I chose a spot away from the noise of nearby traffic. The quietness helps to focus one’s mind, though you do get the occasional comments from passers-by.

I like watercolour because of its luminosity. There is also a kind of innocence when painting en plein air. It looks, to the untrained, so simple. Yet it is like walking a tightrope; you never know when you are going to fall. It’s exciting and frustrating. There is little time for technical gymnastics and laborious detailing. You need to plan ahead, keep to what you know, and go for it. For the professional artist it displays a freshness that comes with painting en plein air, which is why I use watercolour most of the time.

1

I sketched the broad outlines of the horizon and the centre of focus – the group of trees – in a 2B pencil. I set about creating the sky, by wetting the paper first using a large mop brush, and then adding Cobalt Blue followed by a grey mix of Burnt Umber and French Ultramarine. I then added a darker grey, with the same mix, to give the clouds a bit of depth. The wash is allowed to run freely down to the horizon and then over the riverbank to the left. Whilst the sky was drying, I continued with the same method for the water. Water is a gift for the watercolour artist as it blends nicely when using the wet-in-wet technique. Again, I used the same mix of colours, but added a touch of Indian Red and Raw Sienna. I tend to paint with the paper almost vertical. In watercolour this has its drawbacks, but it keeps the painting dynamic. I also paint standing up as I like to stand back and observe my progress.

I worked from the horizon down the page. I left the horizon almost untouched because, by thickening the mix as you work down the paper, it gives the painting a sense of distance. A darker stiffer mix was added for the cloud reflections. The painting was then left to dry.

2

The background and bend in the river were next, with the group of trees on the island. I mixed a green by adding Cadmium Yellow to the grey mix I had in my palette and added a bit more red. I used dry brush strokes with an Escoda Perla no. 12 synthetic brush to suggest the trees. It is important not to get too detailed with trees, as they tend to become overworked if you try to paint every leaf. When the first green wash was applied, I added a stiffer darker mix to give the trees a bit more punch.