Saltmarsh update - mixed media experiment

Saltmarsh, work in progress, Vivien Blackburn

This is where the canvas now is.

I've sent that middle building back a bit, changed the colour of the border from a turquoise based blue to a mauvey one and introduced that into the painting.

I've brought the light colour into the sky to silhouette the trees.

I've collage a little more texture into the sand with tissue paper.

I've flicked little bits of paint for gravel and leaves.

I've worked on the way your eye follows the lines of the wet mud/sand etc through and up.

You can see stages and close ups below:




I'm thinking of adding the faintest traces of copper in the trees and the bush in front of the building on the left - just a hint of a warm colour.

I won't be able to work on it for a couple of days now as I'm teaching extra hours, so it can sit on my desk while I think about where next.

Any thoughts?

Comments

Sjamesportraiture said…
This is looking great. Really like the palette esp the blue. The texture is hard to appreciate in the photos, maybe take one with a raking light.
8:56 pm
Robyn Sinclair said…
I'd love to be able to get up close to see the texture in this, Vivien. I think your later choice of colour around the edge works beautifully, softening our progress into the painting. Very lovely.
12:27 pm
vivien said…
after a crit night with friends last night I realise I need to change the edge colour Robyn! watch this space .... it's going to change drastically!
3:57 pm
Post a Comment

Popular posts from this blog

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

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

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