2 more colour studies of the view across the bay - vivid afternoon and oale early morning

 
Across the bay, blue afternoon, coloured pencil in moleskine sketchbook
pale pearly dawn across the bay, coloured pencil in moleskine sketchbook 

Two more colour/light studies of the view across the bay.   A vivid blue afternoon and a pale pale morning (which was almost impossible to scan because it really is very pale).

Comments

Jeanette Jobson said…
I love how the change in light changes the colours of the ocean.

It is a mystery to those who don't see it in person and think it shouldn't be those colours.

You know you really need to just pack up and go live in Sennen Cove. Seriously.
11:21 am
Lisa Le Quelenec said…
These colour studies are beautiful, they've got me pining for a trip to Cornwall.
4:50 pm
vivien said…
oh Jeanette if only!!!!!!! The house we rented must be worth a million pounds - my daughter looked up houses for sale there on Right Move and a flat higher up the hill with parking down at harbour level (free for all with other residents in 'designated area') which would mean lugging stuff up a very steep hill - was quarter of a million.

Yes the changes can be so dramatic and sometimes so odd - I envy you your daily views of the sea.

I'm pining for another trip already Lisa! and also wanting to return to Dartmoor and paint.
7:49 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