Friday, 7 March 2014
1. The dark foreground foil.
2. The soft graduated tone of the beach
3. the typically winter colours of the sunlit landscape.
4.The marvellously dark grey clouds
Theres something really poignant about a winter sunlit landscape...like its a pathetic attempt at reverie....bit like that feeling I used to get as a teenager on a Sunday afternoon when I knew I hadn't done my maths homework for Monday.......
Plan was basically:
1. High contrast foreground area of surf.
2.Rest of painting muted greys, but getting the colour of the sea correct.
3. Seaside promenade buildings on left to be a froth of hinted detail.
These points are what attracted me to the scene in the first place, I tried to convey them in an immediate and simple way.
1.taking a photo of a scene that really strikes me...
2.then taking a video of same scene with a narration describing the main 2 or 3 elements that attract me to the scene.
3.In the studio I then paint a "foundation" of watercolour, with tones and colours as accurate as I can.....
4.then to freely apply thick acrylic , I use as large brushes that I can, to try and get something of the freshness of what attracted me to the scene in the first place.
This seemingly convoluted method of getting back to the essence of the landscape, is bourne out of dissatisfaction for Plein Air painting, which can deteriorate into 3 hour numbing exercise....the light/weather/mood changes and the painting can sometimes get diffused.
Just plain photos of the scene often look pretty uninspiring when printed in the studio.