Wollaton Gulls

As a matter of interest - or otherwise, of course - I've temporarily hidden the ultramarine from myself, in oil, watercolour and acrylic: it does change one's entire painting practice to do without it, and I'm finding the experiment interesting. Do you normally use it? I can't tell if this has worked or not, given I can't visualize what you had in mind; all I can say is that I prefer most of your other paintings - helpful, eh? It's a bit dark for my taste .... that could be the photograph; but I feel a need for a touch more tonal contrast. But then - t'ain't my painting!

Robert has hit the nail on the head or as I used to say before I suddenly thought about it, head on the nail. There isn't the same quality of light in this one as your other paintings. However, it still gives a wonderful brooding autumn afternoon feel, the time before it grows dark.

Robert - no, I don't normally use Ultramarine. I find it exceedingly, vividly, ubiuitously itself. My main (often only) blue is Phthalo which works well in greens (not something you'd normally say about ultramarine), and also makes a lovely range of purples with Rose Madder, too. Most of the time, my Ulramarine tends to get used with Burnt Umber to make not-quite-black "dark" and the shadowy grey of the clouds. It's easy to make "dark" and greys that way, but Phthalo, Rose and Lemon can be finagled into doing the same job. It's only since I gave my painting that post-baby kickstart that I discovered Phthalo and let Ultramarine go.

And the tonal contrast *is* part of what is wrong; I think that gives the quality of light, too, Gudrun. I had a feeling it was something like that, but thank you both for your comments; they are much appreciated. I may have to return to this subject another time. Maybe bigger.

Your seas are a joy Amanda such vibrancy and power, just realised this is a lake in a park and not the sea, but its still painted beautifully!