The Crowns Botallack - adjusted slightly, and Runswick Bay in progress

Runswick Bay, Yorkshire, work in progress

I've put lots of subtle glazes of colour into this in the sea, sky and sand but they aren't picked up terribly well in the photo. It's at a very early stage and all is subject to change. The bushes and trees behind the houses are simply scrubbed in to get some colour there.

I want to catch a steely pale blue-grey day. Everything pale and clear and cool.

And in total contrast here is The Crowns at Botallack, tweaked a little. Maggie said that the sea seemed to come in front of the cliff on the left, so I've adjusted it slightly. A touch of gold on the edge of the grass and a swoosh of white over the water - does that work now ?

The Crowns, Botallack, Cornwall. Mixed media on canvas 20x16 inches

As always it's impossible to balance all the colours correctly :>( - the water around the rocks is greener - the sort of eau de nil turquoise green of water with trapped air bubbles from the waves crashing on the rocks.

I think the ultramarine at the top of the sky (slightly less of a stripe IRL) pushes you down into the rocky inlet now, which for me works better.

What do you think?

Comments

Jeanette Jobson said…
Runswick bay is going to be good. I like the cooler palette but I know that will likely bump up before you're through.

I like the viewpoint of this one too.

And yes, the slight changes to The Crowns are good changes. The image is well balanced.
11:14 am
vivien said…
oh good, I'm glad you agree :>(

I really like the pale cool palette and am trying to keep that feeling whilst putting in the rocks/weed/mud- not getting tooo dark with them
3:29 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, with some of the taller dried grasses showing
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