across the beach, hazy sunshine


Across the Beach. Hazy Sunshine. coloured pencil. 10 x 6.5 inches. Vivien Blackburn


A busy day and no time to concentrate on the canvasses so I did a bit of drawing with coloured pencils on grey card - one of those sunny days with thin translucent white clouds veiling the sky.

You may be getting bored with this view :>) - sorry - but it's interesting to me to try to capture it in all the weathers and lights I saw. I do love the light and the way it changes colours. Also to experiment with different media as the effects are so different.


.

Comments

Shirley Anne Sherris said…
Not tired of it yet Vivien. Like the colours of this one - warm and inviting. Wasn't keen on the rainy one. Appreciate the technique and talent but not the feeling it invoked much prefer to feel warm. We see more than our fair share of rain up here. You will soon have quite a study of light in the bay.
Cheers
5:14 pm
vivien said…
thanks Shirley - the west coast gets far more than it's fair share of rain and though I hate it to be outside in, I do like catching bad weather in paint :)
!
3:04 pm
William F. Renzulli said…
An impressive drawing. I am always amazed at what some artists can do with colored pencils.
10:31 pm
Jeanette Jobson said…
I find it interesting to see a particular scene over and over, the changes being made in light and colours reflecting weather and seasons.

You could have a month of these and I'd enjoy them equally.
2:52 pm
vivien said…
Thanks William and Jeanette :)

yes Jeanette, I love to see studies in different lights/weather etc - it's what I love in Monet and Kurt Jackson, a sense of time and mood and place.
6:40 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