AND NOW FOR SOMETHING A LITTLE DIFFERENT!
A PASTEL SEASCAPE
BALLINTOY SEASCAPE – Finished Watercolour
“Sea Pinks” Final Phase
“SEA PINKS” – Stage III
AN ADVENTURE WITH THE DOGS!
Our Trip to Scotland
They can be either VERY good [when they’re both sleeping at my feet] OR, a real pain in the rear [when they decide it’s play time] – I have had to stop several times to remove acrylic paint from various ears and noses!
… and, finally, here is a pic of “Rico” and “Cody” in the back of the car during their trip back home to Scotland:
WATERCOLOUR Stages III and IV
OK, back to watercolour….. and, as you can see, I have been working on the Seascape painting ‘as a whole’. By not focusing on [and completing] one area at a time, I can ensure that the painting remains ‘balanced’ as it progresses.
Quite often though, and especially with still lifes and floral subjects, I do actually work each area up to completion but find that the ‘overall’ approach works best with seascape and landscape subjects.
I am still using Daniel Smith ‘Indigo’ and ‘Quin.Burnt Sienna’, W&N ‘Sap Green’, ‘Winsor Blue’ [green shade] and a tiny touch of ‘Permanent Rose’ and ‘Burnt Umber’ to warm up or cool off the grey tones.
As I paint, I am constantly thinking about ‘directional light’ and ‘cast shadow’ areas. This is important in order to maintain realistic tonal values and to ensure that I don’t overwork the painting as a whole and, ultimately, confuse the eye of the viewer.
“EBB and FLOW” – part II
“SEA PINKS” – part II:
The rock surface has been glazed again with Indigo, keeping ‘rock shapes’ in mind. Again, while the paint was still wet, I dropped in some stronger mixes of Yellow Ochre and Winsor Yellow to indicate where the lichen is growing. I can see that some of these lichens are a creamy/white colour, so, rather than try and mask them out, I used [and will use again] a ‘dry brush’ technique. That way when I lay in subsequent glazes, I can save some of these textured areas.
I have finally put brush to paper and started not one but two new watercolours. So, while the paint is drying, I decided it would be a good time to update the Blog and start sharing the painting process.
PAINTING I “Ebb and Flow“
This first painting is a SEASCAPE and this is the reference photo I am working with.
You will notice that the painting isn’t exactly like the photo – this is because, since I know this area of the coastline so well, I can carry a lot in my head. I have also used some of that magic ‘artistic license’ to pick out and move around parts of the scene!
This second pic shows Stage One of the painting process and goes some way to explain how I go about it.
I used a 2B pencil to lightly draw out a few of the key shapes [use a light touch so you do not mark the paper] and then applied a pale ‘undercoat’. This was a very watery mixture of Verditer Blue for the sky, then adding Phthalo Blue and Indigo to this, I used a ‘hit and miss’ technique over the shadow areas of the water. As you will see [or not!], the wash has dried so pale that it is almost impossible to see in the pic! This is because it is only the first of many glazes which will be added as the painting progresses and will actually work as one of the varied subtle colours of the deeper water and the foam…. keep watching and you will see what I mean!
The rocks were laid down with a watery Yellow Ochre. The reason I chose this as the underpainting is because there is an ‘ochrey’ tone shining through some of the rocks in this area. Again, local knowledge and keen observation are key. I haven’t used any masking fluid by the way, although you can if you find that easier.
PAINTING II “Sea Pinks“
This second painting is taken from the same area and is of our pretty native flowers, ‘Sea Pinks‘, which bloom during the early summer. The flowers are set against the beautiful grey blue local rocks and are interspersed with bright yellow litchens.
In order to permit free ‘washes’ without having to fiddle around small areas, I used masking fluid [I personally like Pebeo Drawing Gum, applied with the tip of a plastic palette knife] to preserve the flowers, stems, grasses and a few other light marks on the rocks. The first pale wash is purely very watery Indigo Blue, and, as the ‘shine’ leaves the wet paint, I can safely drop in a thicker mix of the same colour to start adding depth.
Tip: do NOT shake your masking fluid before using – you will only add ‘bubbles’ to your painting surface which will ultimately burst, leaving a weird round masked mark once it’s removed.
Both paintings have been left to dry completely overnight. Tomorrow I will continue on both and will post progress.