At the suggestion of several friends, I sketched the first two radishes to be harvested from our garden.
Thinking the sketch was dry, I brushed my hand across the paper which left a streak of colour. So, I added water to lift off the excess pigment and it started a bleed. The effect was cool. The result is a happy accident. Let me know what you think. Which version do you like better?
Life felt a little more normal today. Susan and I arrived separately at the paint site. She found a nice sunny spot out of the wind while I wrestled with a cold stiff breeze that quite quickly destroyed my easel. I changed tactics to paint sitting but even then my brush holder went flying along with scrap paper and paper towels. Everything was collected again and I managed to knock this off in two hours. It could be my imagination but I think the weather distraction kept me from overpainting.
It was a balmy overcast day but the tulips were glowing as if they were in full sun. Grape hyacinths marched along with them while, in the background, yellow daisies peeked over the tops of their leaves to see what was happening.
Since we haven’t been able to have our usual outings, a few folks from the painting group got together on Zoom today, to share our work and get/give feedback. It worked pretty well. We discussed each other’s work as it was shared. After including the group’s suggestions along with a few of my own adjustments I’m much happier with this whimsical sketch.
It’s not often I get up before the sun. It looked liked a glorious morning so I took a photo to paint in the studio later. I had the luxury of time to plan each layer between washes. A slower approach was successful. It preserved sense of calm in the artist and captured the one that’s present just before the sun rises.
The bushes and trees were done by scratching through the layers followed by a dark wash with the excess lifted off. It’s an effective technique for fine lines which I often forget to use when I’m outside.
I may remove the small cloud on the horizon by the left shore. I’m undecided whether or not it’s a distraction.
The glow of light in the water was added by rewetting then touching it with sky colour. Again, lifting off the excess to achieve the correct value.
I can’t say I am thrilled with my paper choice — Fabriano Artistico 140lb cold press 100% cotton. It’s a struggle to work with when thoroughly wet and I find the pigment settles into ripples even though I have the paper stretched. If someone has a trick to getting it to behave I’d appreciate it.
I’m happy with the final painting and achieved the goal I set out with so I really can’t complain. As always, hope you like it.
Some pandemic restrictions have been relaxed in Nova Scotia. Physical distancing is still a thing and beaches are still not open but we’re allowed to go places for recreation. In my excitement to do some en plein air I forgot my easel so once again the car became my studio. Life almost feels normal. Be safe everyone.
I emailed my instructor the previously finished version of this and he made some suggestions to add some half tones, highlights, and darker shadow on one side of the urn to make it pop. I had to preserve the shadow of the mortar jutting out from the wall but I went beyond the reference photo and intensified both the highlights and right hand shadow sacrificing some detail for oomph. Let me know if you agree this works better. Thanks!