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Up the creek and searching for a paddle. (oil 3ft x 3ft)
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Posted
The most recent version is on top.
I've been working on this one, on and off, for what seems like an age now. I got it to this stage then decided I didn't like it at all. Then I progressed (if that's the right word) to the current stage. I'm looking for advice with regards to colour and anything noticeable. I'm toying with the idea of lavender waves to intensify the already blue shades I've applied. I'm happy with the kittiwake but not the movement of the waves. Not keen on the sky, either, thinking about removing the clouds altogether.
Posted
Just a thought here Brian. Have you got any art apps on an i pad? If so, you could import this and play around before you come back to the painting. It takes away the fear.
The main thing for me is that there is too much going on and this has made the foam a bit static. If the paint were still fresh, I would take a cloth and make some sweeping strokes, taking away some of the detail, perhaps break the "lines" here and there. I like the sky, I wouldn't do anything with that yet, if at all. If it's any consolation I have a canvas, 1mx1m hanging on the wall, seascape, half finished. I've already painted over all of it except the sky. I actually added this paint while it was hanging on the wall! ( in the room where I paint). I'll be coming back to see what transpires.
Posted
Well Brian, I'm not convinced by those waves, a bit like cotton wool and all too much. I would like to see a horizon, or more of one anyway, that small strip that you have now in the centre is confusing.
The sea itself needs to be darker, perhaps more turquoise, it lacks impact. This would make a darker backdrop which will show up that sea bird a bit more - it's lost almost.
Whilst I do like the sky in general, it does conflict with the sea as it is at present. ie. the clouds and those waves have similar forms. I would go for a clear graduated sky myself.
A good start non-the-less, needs a bit of heavy fine tuning to turn it round.
Posted
The most recent version on top, and you've tackled the biggest issue which is the waves - so you know where you need to be going: you've understood that you needed to cut back on the churning detail - I think this is the weakest area of the painting (and I have every sympathy: I have great difficulty painting the sea, even though I live right next to it). The problem is partly at least that you've got at least four separate strips of water which don't seem to have much connection with each other: count the one at the horizon, and you've got five. The bird helps to break the horizontality of the picture, but as Alan said, it's got a bit lost - so doesn't entirely fulfill its function; concentrating on the water with the same focus as you have on the bird means that the two are fighting against each other.
There is more going on than I think the picture can readily accommodate - so I also agree with Marjorie. What to do - now that's where I come unstuck. In your place I'd put it away and come back to it later, but given the sea is the same 'strength' as the sky and the bird: and that the sea doesn't entirely convince - at least you know what needs to be done. I would try to calm the sea down, and maybe focus on the force of water and foam against that rock; and I'd try to indicate some vertical movement in the water, a sense of direction to reduce the cotton wool look and hopefully remove it; and attend to differences in colour and tone caused by light shining through, different depths - and introduce some counter-change as well. So no pressure, eh?
Just one more hint - if the foam were as high as that beyond the rock, that stretch of water in front wouldn't be sitting there so calmly and flatly - you need some movement in your water (well, don't we all.....?). Take a day off, and go and spend a day on the beach, if you can - look at the way the sea moves.
Posted
Yes, if we're talking about the strong blue shape in the middle of the waves, I read that as a breaking wave. But it's probably a rock. It's the strongest tone in the picture, and, apart from the sky, it's the furthest back. As such it needs toning down to give it more distance, whether rock or wave. If it's a rock, I'd use artistic license and make it taller...at the moment it's in line with the waves. Also it's right in the middle...maybe off to one side a bit and taller would look better. As has been said the foreground should have the strongest tones. But what do I know, I don't paint landscapes. It's a good 'un, Brian. It's worth persevering. I would have been pleased to get this far with it.
Lew
Posted
I'm here, Marjorie!! *LOL*
Sorry about the tardy response, folks, but yesterday was just one of those days. I managed to start painting late last night and eventually went to bed about 3 AM. Nothing's on fire but I had to attend to a few things.
Firstly! Thanks to all for the amazing replies to this dilemma. I can't tell you how much I appreciate the advice and pointers AND how closely I read each reply. Some great feedback there.
I've pretty much repainted most of this scene, all be it still in the early stages, but it's a start. I don't have any app's to fiddle about with, Marjorie, but Jack does (son), However, I'm a confessed I.T. ignoramus , although I am getting better, and tend to use paper for quick experiments, or just the canvas itself.
The wave/rock is actually a breaking wave, with the ones in front of it having already broken. The waves are a bit static and almost digital in appearance, like they were sculpted out of plastic. Apart from the bird, and to a lesser extent, the sky, I don't like this much. BUT!! At least I now know for sure.
Since posting the original, I've darkened everything and went for a much looser style, and have more or less established a connection between the layers, with hopefully improved fluidity. One wave has been zapped altogether and is now consigned to the sin bin for an indeterminate amount of time. I've also dropped the back wave considerably and introduced an horizon.
The painting is nowhere near finished but I FEEL happier with the progress now. I'll post it later to see what you think. Must dash because I'm on duty for a city run. Never stops! LOL
My best to all and thanks again.
Bri
Posted
Here's a painting entitled Schwere See (Rough or heavy sea) by Patrick von Kalckreuth - my father brought a print of this home from Germany after the war ... now lost. It gives one idea of how to tackle a rough sea, and catches the movement which I think yours lacked. You might find it helpful (and so might I...).
Posted
Thanks Robert for posting that great painting. It looks dynamic, what with the surging power of the sea almost leaping from the canvas.
Here's where I'm up to with my monster painting. It's far from finished but the blocks are now in place and I feel they are an improvement.
Yes, it's the same painting. LOL
Bri
Here's a painting I completed a few months ago. It's much further away from the action than my current seascape, where I'm looking to bring the viewer much closer as if they were in a boat or in the sea.
Here's a painting I completed a few months ago. It's much further away from the action than my current seascape, where I'm looking to bring the viewer much closer as if they were in a boat or in the sea.
Edited
by Beemax