sketching at the beach

quick sketch of moving figures in watercolour, pencil, biro and coloured pencil copyright Vivien Blackburn


Yesterday I went to the coast to deliver the work to the Neptune gallery. My husband went with me and I decided to sketch - not a good idea! It's not the same as going with friends who also paint - I was conscious of having to hurry up so he wouldn't be bored, the beach was busy with bank holiday visitors, who constantly walked in front of me, moved, put up windbreaks or tents or took them down just as I was going to sketch them ..... not ideal !

So I only got this quick sketch done ... not good, a very bad composition as I just sketched people when they held a position long enough and they are both looking out to the left. I didn't have time to consider properly and even though I had my back to the seawall, people came to look, which is distracting. (excuses excuses!) I thought I'd post it just to prove that I did manage to get a bit of sketching done. :)

I've added the photo to show how photos don't give you all the information - the scene was brightly backlit and so the camera shows the breakwater as intensely dark with no detail - in fact, though it was dark, the cracks in the wood and the grain were interesting and there was a greeniness of ?algae. The wide angle lens doesn't see distances the same as the human eye (I did move some things around a little in the sketch) but like the green in the breakwater, some subtle colour changes aren't there as I saw them. (the people are all strangers, husband was sitting next to me chilling out :) )

It was a lovely hot sunny day though and it was just so nice to be by the sea, even on a busy beach, when I prefer isolated quiet ones.

Comments

Post a Comment

Popular posts from this blog

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...
Read more

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
Read more