I am not really sure what I am doing these days. I don’t really like what I am painting. Moving into abstraction to some degree, trying to loosen up, trying to be more suggestive than representational. Like anything new, or different, it can be very uncomfortable. A part of me wants to work with less intense colors, and for me, that seems like an impossibility! So, I keep trying. Let’s see where it all goes.
Another wet-into-wet painting, but this time with more challenges and a longer painting period. As before, 140# Arches CP paper.
The goal of this painting was to get away from trees and aim for seeing how using a very wet piece of paper could be worked for skies and water along with plant life, from rushes and grasses to distant trees. The style itself lends itself more to softness in general, but with judicious brushwork and glazes, more defined areas were achieved. I also used white gouache to represent a tasseled top to the tall reeds (or whatever) in the middle right of the painting; I realized I might have achieved an airier effect by splattering some frisket in the areas I wanted white.
I painted the majority of the picture last night, working glazes over areas more defined to blend them in more harmoniously. Dry brush was used for the the foreground and in areas where a rough edge was needed to show plants.
I don’t think this painting is as good as the one I did previously. The contrast is not good enough to convey distance – too strong of colors were used to paint the reeds and trees in the horizon. I do like the colors and softness, though. Another point of focus was to create a point of focus! I tried to use birds, warm colors in the center of the painting, a bit of a vignette around the edges, and other visual tricks to lead the eye somewhere. Again, I don’t think I had much success. As well, the sky and land do not seem to match.
I did accomplish a few things I set out to do – wet-into-wet with some control for sky and plants and water. Doing it is a lesson in itself, and each painting teaches something. I worked on the painting last night and then refined it this morning. I had more patience than I usually demonstrate when painting in watercolor. Why is that? Is it because watercolor is wet and watery and seems to demand a bit of speed?
I’ve been in a foggy mood lately – could it be matching my aggravation with the coronavirus and all the social restrictions it is placing on us? I have been rather out of it for the past several days, so today I decided that, no matter what I felt I had to do, a painting with a cheerful theme would be the day’s beginning! Nothing like a beautiful day at the seaside with a good wind and a brilliant sun to cast away those doldrums.
Continuing my water and fog series, and my simplification attempts as well. Here, another deserted coastline, with a few birds.
What is it about a lonely beach? It’s spooky, it’s sad, it’s exciting, and quiet. If the sun is trying to break through, the warmth begins to disperse the fog. Hopeful. Sun. If it is heavy weather, the sky lowers and threatens. Cold. Damp. Dangerous.
Fluid paper, limited palette of ultramarine, sap and Hooker’s greens, burnt umber and raw sienna, and a bit of alizarin. Probably other colors, too – hard to remember where the brush wandered.
I am sort of fascinated by flower farms at present, whether it is bulb flowers or lavender or other types, such as daisies for bouquets. The lines of color and how to represent them is a challenge. Here, we are looking across the fields – the rows are running parallel to the horizon. Still, there is depth here, and I would think the rows would be evident, however subtly. Well, I didn’t accomplish what I wanted, but decided to add ink and some white to it, along with a lot of birds. In looking at it, I realize the foreground needs to simplified and in my mind’s eye, I have some ideas.