sunset Isla Plana.

 Atardecer Isla Plana,

 oil on wood panel 25 X 25cm

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Another blue period...

I have been painting some works based on my plien air paintings from Derrynane in Kerry.  I will post them here before my trip to Nice next week.  It seems so long since I was there in March, and our Paris/Giverny trip last month!  Back to the paintings though, rather than my gallivanting, they have turned out rather blue.  It's not surprising as they are three seascapes, with mostly sea on the canvas.

 

 

 

The three images are a little bright, but the photography was done under less than ideal conditions.  However if I didn't take them this morning, I wouldn't have any images to upload to this post, and it's unlikely I'll get time before I go.

 

I think the three of them need a little more work, particularly the foreground on the third image, though where the green in the photo came from, I don't know!  If it photographs that green, it definitely needs another look on the canvas, although it doesn't look too bad in the first image.  I must take the next photos with my fuji camera rather than the Nikon, it may be that the polarising lens is altering the colours, and the bright sunlight wasn't helping.

 

As for the blue, looking back at my images from my Plein air trip... the Kerry ocean was very blue in the sunshine. 

 

 

A re-worked plein air study.

I have finished re-working this Plein air study from St. Marguerites Island in the Bay of Cannes, Cote D'Azur.

The couple of areas in this photo with a shine have already been started on. (I decided to photograph the work in progress after starting)

Starting from the base oil sketch, the composition is very busy, and the small branch to the left of the right hand tree is mimicking the center trunk giving a regimented and fragmented look to the work.

I have adjusted the curve on the right hand tree already, the dark blue of the original sketch is visible to the left of the reworked trunk. I have put a base coat on the small branch, which I am about to paint out next. I have also painted areas of the 3 tree trunks
and darkened the dark area behind the lefthand tree.

In photo two, I have done further work on the tree branches. There are areas of light added to some of them. I have also emphasised the curve and twist of the middle tree trunk.

I have painted some foliage in the foreground, top left, this adds depth to the painting.

I have greened up the main area of foliage to the back.

Second coats have been given to the two areas of ground under the trees. The little piece of wall has been painted out also, it does nothing for the composition and is not needed. The dark line of the old wall foundation on the other hand adds interest and does the secondary job of creating contrast to the strong line of the tree's roots on the surface of the ground. These roots make the trees more interesting.

The section of the Island in the background has been repainted. This has been cooled down and adjusted in tone to complement the newly painted sea and sky areas.

In the third photo I have reduced the area of foliage to the right hand side of the painting. This area was to square and also quartered the painting. I had a little fun with this part though...creating a little map of Ireland out of it....

I have left the basic square, but I have broken it up to make it less solid.

It has also allowed more of the horizon to be visible.

Although not noticable in the photograph there is a small variety in the colouring of the sea. This gives a pleasant vibration to flat blues of the background, and not just in the closeness of the colours in the sky to the sea itself. This has the effect of giving heat and life in what could have been a very flat and un-interesting area.

I have also created another curve and twist in the righthand tree trunk to give a better shape to the fork. Finally the foliage on ground and behind the trees has been re-worked and detail added.

I feel the painting is finished now. Though there is always a possibility I may see some change to make in a month or two.

This last photo is of the view, though not the same angle, which was a little to the left I think. But it explains some of the changes made, and the original sketch.

All prepared at last!

All my paintings are ready for the exhibition, I just need to wrap and pack for transport. I will have an early start tomorrow. It is a long drive down, and It will probably be a fourteen to sixteen hour day in total. The paintings look very good in the frames, that final finishing off makes a big difference.
I can honestly say I am pleased with the works going to the show. If they don't sell well I will be extremely surprised!. The subject matter is a good one for the area, and even if I say it myself the work is 100%, both artistically and for uniqueness.

another Tunisian coast seascape study, step by step

Blocked in

reworking the sea

into the shallow water

and next I work the rocks

some general highlights

more highlights to give the movement in the water and wave lines added

final highlights and details

about 12 inches square, acrylic on canvas. I am building up a collection of these small works, soon I will start on a large scale piece on the subject.

two small seascapes

Here are two quick studies, acrylic on canvas, about 10 inches square. They are both based on the mediterranean coast again. They are just basic square works, but divided in half, blue and green. This has been varied by splitting the top square again, the lower one in half again above and graduated colour below. In the first painting, the movement in the water and the cloud in the sky have broken up the stripes, thus disguising the geometric form of the painting. In the second, less worked piece the cloud does not break the top strip to a great extent leaving it stronger looking even though it is less pronounced than in the first painting. The gradual and radial colour change of the sea help do the same.






SOLD

These are two small experimental paintings which will help when I come to do a larger painting based on the same principle.

SOLD Seascape 2,

North African seascape No.2

I have been working on another North African/mediterranean seascape painting. Here is a step by step work up study;acrylic on canvas, 16 inches square.
Step one:Blocked in colour with a few marks indicating water movement.

step two: further work on the main sea areas. There is added movement in the water and more tonal values in the sea.
Followed by step three: detailing and moving light on the rocks, light movement in the foreground water, created mainly with the use of semi-transparent layers and brush marks.

The criss-crossing curves and arcs create a simplified rippling effect on the seabed while still showing as water surface without needing to delineate the visuals by adding a shoreline




This will be an interesting excercise in a more finished painting.

A step by step view of a painting.

Here is todays work, a WIP, work in progress.

This is the first stage with a basic sketch and blocked in dark areas.

My second stage with a base wash of yellows

The next step was to add warm colours into the rocks and a little more substance, still with thin washes

adding some depth and a little more contrast

followed by some further detailing, still in thin washes.

a few washes later, ready for cleaner work with thicker paint. I will start the next steps on Monday.

As you may notice it is a study of the sea and rocks again. I was looking into the water from a stone built 'pier' out into the sea when creating my sketch.

The first work out of my new studio..

Is an acrylic on canvas, 24 by 18 inches. It is based on my Tunisian coast studies. I photographed it when I had the base work painted in. These base colours look a little stark, but you will notice how much they soften with the extra layers of paint in the final picture. I intend to do a few of these seascapes, and then I hope to paint a couple of larger paintings in oils when I have explored the ideas a bit further. The acrylic paint is a bit flatter than the oils would be, but because they dry so much quicker I can develope my ideas more rapidly.



For my next painting I will try to get more vibration within the sea itself. I like the movement within this one but I feel I can get a deeper look to the movement if I use less brushwork, but more careful blending of colour tones. The similar tones of two colours react when laid down beside each other, giving the effect of a vibration within the painting. This will aid the movement of the water in the seascape.

PS. in the actual painting the rocks sit below the surface of the water, but not quite as well in the photograph. I must look at the painting again to make sure.

A small paper study.

This is a 'small work on paper'. It is a view from Tunisia, 16 X 12 inches, acrylic on paper, and has gone to Belgrade, Serbia, for an International Exhibition of small works. The horizon looks crooked in the photo, but the paper was still wet and crinkled when the photo was taken. You will also notice it has a bit of 'fish-eye' lens to it also, but it gives a good over view of the painting.

I am still organizing for my new studio, but I hope to have it soon.