I was going through some of my Instax photos taken earlier this summer. Here, a path nearby overgrown with mustard. Depending on how much water is available, mustard plants can be very short – or very tall.
I thought this could make a good study with a limited palette, and dryer brushes. Lots of things went through my head, actually. For example, plain batches of color. No pencil lines. Shadows using the underlying color of the ground or plants – i.e. burnt umber and ochre mixed with a bit of blue. Details in dry brush. Patience and wait to let things dry, or add blobs of color to enrich the damp paint. Dry brush over colors already laid in as a wash (like the tree and bush in midground and background).
Maybe I’ll take my Instax out for a walk today. And a dog.
A couple of things here. First, I think that Winslow Homer is an amazing painter, especially in watercolor. Second, I think that copying the work of a master forces one to study what is in front of you – how was this done? what technique?
As Homer is a master of skies and atmosphere, I spent some time the other morning looking at different paintings he did. Especially delightful are his paintings done while in the Caribbean, spending time in the Bahamas and other islands. Homer’s skies are vast and expressive, subtle and strong. I decided that his painting, The Palm Tree, Nassau, would be a perfect study. What was most interesting was seeing how differently the same picture looks on different sites – some make it very murky, others make it very colorful. Below is Homer’s painting:
I printed out a copy of this painting on my not-too-high-end color printer. In the end, I referred to it more for composition rather than colors or detail. This image shows the sky with blues in it, but other images on the web gave the sky reddish and yellowish undertones. In the end, I just did what I wanted.
The water could have been more turquoise, as is the water in the Caribbean; the foreground in Homer’s painting is some weird vegetation that I couldn’t figure out, but think it is typical for the scrub of the islands. If you look at Homer’s painting, there is a reddish blob by the lighthouse – what is it? Looking closely, you can see it is a flag. For me, it was a big distraction, so I left it out. Also, Homer’s rendition of the lighthouse is very simple – I decided to give it a bit more detail.
Copying this painting was a lot of fun. The sea was rather meh, but Homer’s is not especially spectacular. His palm trees, though, are divine. Since I live where there are palms, I really liked the idea of actually attempting to paint a tree – or trees – that are rather intimidating. Homer’s painting catches them snapping in the trade winds – you can just hear them clacking their fronds against each other. I hope that my fronds convey the same sense of sound and movement.
Techniques used in this painting were wet-in-wet for the sky, light washes moving into darker ones for the foreground, and layers of colors for the palm fronds and coconuts. I took some long looks at what was in the painting before me and felt confident enough to figure out what I think Homer did. For the white of the waves and lighthouse, I cheated and used frisket. Then, after it was dried, I laid in the sky, and then moved to other areas, working lighter to dark, some detail to final details, depending on what was going on. Altogether, I spent about 3 hours doing this study.