Painting 'River song'

A couple of weeks ago my son Rupert and I ventured down there to spot birds and we watched as the setting sun turned the bridge a glowing buttery yellow and the moon rose early before it was fully dark. 'River song' is the result. Here it is:

And here's how I made it.

The composition is everything. I work from photographic and sketched reference materials, elements of which I put together to construct the image I have in my mind. Taking time to make the drawing feel right and all the elements appear harmonious and interconnected is essential. Without this clear map to paint to, it just wouldn't work - especially in unforgiving watercolour which doesn't let you change your mind. In my head I could see the painting as very bright, very yellow and very blue.

Once I am happy with the composition it's time to get the paints out. The first thing to go in is a bright blue sky of ultramarine and cinereous blue, featuring a sun... or is it the moon...? Who cares! It needs to be there and it could be either depending on your mood. Putting the sky in early establishes the range of contrast within the picture and anchors all the other elements.

I couldn't wait to put in the willow frond! Those glorious sword-like leaves are expressed in the palest of turquoise blues, sap green and lemon yellow with just a hint of magenta in the twig.

With my palette still full of blues from the sky, I also paint in the azure damselfly, resting in the reeds.

Next, those trees on the far riverbank are splodged in; and while my palette is full of greens, in go the reeds.

Once that lot is completely dry, I clean my palette and mix some fresh colours. This time we're talking yellow. A bright luminous wash of lemon goes in to provide a base for the rest of the detail of the bird...

...and a really pale wash of buttery yellow goes over the whole bridge and the reflections in the water. I drop some purpley-brown into the yellow wash while it's still wet to build a darker base for the arches.

While the bridge is drying I return to the bird - a yellowhammer - and paint in the details. I am careful to put in enough detail to describe the bird, but not too much as to overwork it. I need those yellows to sing out more than I need to express every feather.

Finally, the bridge and the reflections were built up simultaneously with burnt umber and winsor violet, keeping it all really wet.

And although you can't see it in this scan, in the sun/moon has the gentlest hint of rose pink in it. Almost imperceptible! This is my tribute to Nick Drake, the late guitarist and songwriter who's final album was entitled 'Pink moon'.