oil on linen panel 8 x 10 inches
They already knew the secret to achieving mastery . . . .and they exploited it. For us painters, we call it brush mileage. That is to say that the more one paints, the better one becomes. Reaching mastery simply comes from a ton of practice. (Whadda concept !!!)
This painting looked like mush when I finally threw in the towel. Some careful thought, a wise crit from a friend and 15 minutes of patient rework brought what I wanted to say out of it. Those simple minutes seemed almost absurd. It came so easy. It sure wouldn’t have been easy 100 paintings ago! Something came about in the last 100 paintings.
It was the brush mileage that was adding up to bring a confidence with the brush that I didn’t have without all that practice. That’s what the daily painters knew. They knew when they started that a painting per day would deliver extraordinary skills. Amen !!!
The very first thing one must do . . . .and this isn’t the easiest to even recognize, much less actually DO . . . . .is to let go of what you think you know. That is precisely what I must do when I paint anything, much less a seascape like this.
First off, let’s look at the most obvious dangerous thought in this painting: “The foam is white.” Nope! Wrong! It isn’t just white. Believe me, there is a rainbow of color in there. So, one must THINK carefully about what color goes where to leave a ‘white’ idea but a visual which has complete impact. There is a range of violets, greens, grays, blues, oranges and an occasional red in all this white. It must all work together to read as ‘white’ but cannot actually BE white.
The same goes for all the color in the cliffs and hillsides. The reflections, too. It is a chorus or a concert, if you will, of multiple colors and values.
The biggest concern I had in this painting . . . .get ready for this! . . . . was how big is the ‘white’ (or very light valued colors that approach nearly white) versus how big were the medium and dark values. Yes. Failure to pay attention to size dominance (where one group of values is significantly larger than the other group) could have ruined this painting. A half and half split between sizes would have been most unsettling. One value group (lights or darks) must dominate over the other in size.
Those are some of the things I must pay close attention to in the act of painting. It would have been a large mistake to think “Water” and “Waves” and “Rocks” . . . rather than light, mid and dark value . . . rather than warm and cool . . . rather than soft edge versus hard edges . . . .rather than splash is white . . . .rather than paying attention to the edges, the temperature, the value and whether there is shadow or light on the splash.
Watercolor, 22 x 30 inches
The far shore is what this piece is about. Every thing else in the painting is supposed to lead the eye to that point. Click on the painting to expand it so you can see what’s happening there. Hopefully, the monitor resolution is good enough to make out the color detail there. The stark value contrasts there and the edges keep the painting in balance (I hope!). It took nearly six different attempts and glazes to dial it in.
I have been on a tear to paint lately, since I have another show coming up, which has a theme of water flowing to the sea. So, I am painting big, strong pieces in hopes that a few will be show worthy. This is a welcome break from the web work on my website last week. If you haven’t seen the new site, check it out here.
Understand that I am always up for a challenge, but there are also times when it feels good to just whistle a melody and sling paint. I have done enough landscapes and sea paintings in my experience to feel very comfy in their execution. Some good music in the background, a rainy day, a cozy studio and away I go!!