I enjoyed loading up a large mop with masses of dark colour and floating the tip over the paper’s surface drawing out random patterns in this sketch. It will be worth trying again and getting the density of paint stronger. I had prepared a light underpainting first on this one, to try and get the swell and roll of water before going in with the reflections.
The second one is a half imperial sized version (52x36cm) of the sketch I put on the blog on the 12th February. I decided to go in even closer on this version. I was quite satisfied with this one, so hopefully you wont see this again.
Other seascapes are available for sale on my website: grahammcquadefineart.com
When I was on holiday I took many photos of waves in order to paint some seascapes on my return. I had these images on one of my memory cards which I placed inside my computer case for safe keeping. It didn’t work: I lost the card and with it many photos of my holiday. Fortunately I had two other cards full of images, but not many of the sea. Anyway I have a number of images from other stays by the seaside and a few on the other cards so I tried out some sketches.
Here are a few of them. I will try working these up to bigger paintings, in fact I’ve already started on one.
The last one is mixed media which is what I wanted to explore, but I was happy with the straight watercolours so I have decided to stay with that.
So there will be a few more paintings of the shoreline in the coming weeks.
Other paintings of beaches are available for sale on my website: grahammcquadefineart.com
In the end I plumped for something upbeat to start the new year with; the summer days to come – well at least for us poor northerners. This was taken from a place where everyone is currently luxuriating in hot summer holiday days.
It was either this painting or one of a hyena. I might keep that for the Chinese new year, well it is the year of the dog.
I did like the way the primary colours of the sunshade blaze out against the dark sea and the shaded figures contrast against the dry, hot sand.
I have seen a number of poured acrylics recently and decided to have a go myself. I have always liked the effects of poured paint and experimented with it around ten years ago with oil based gloss paint and below is one of my more successful ventures, Marrakech, which, because of the lightfastness of the gloss paint, now hangs in my conservatory.
I did not think you could get the same filigree effects with acrylics that you could get with the more viscous oil paint and so mainly used the liquid acrylics in a more dilute way such as in Dancing the Blues Away, which I posted some time ago, in 2015, on this blog.
So my prejudice has been exposed and I realise it might be worth experimenting with the liquid acrylics in a more concentrated form. I must admit my first attempt included as much manipulation as pouring as I played around with the paint with a palette knife, but the strands and swirls gave a satisfying result and looking at some of the work other people have produced, further variations can be had with the addition of silicone oil. I will be having a few more goes.
I put this out in October 2015 on this blog and then entered it into a number of local exhibitions but there were no takers. It also resided on my websites for a year and a half and with the lack of interest I decided to replace it on my main website, but last week someone saw it on one of my other websites which I dont update too often and they bought it. It just takes the right person to come along and see it and you have a sale.
It has made me resolve to check what I do have out there on the web as it might have been embarrassing if I had cut it up and used it as scrap paper which I am prone do when practising techniques or developing paintings.
Other seascapes and watercolours are available on my website. Get them whilst you have the chance : grahammcquadefineart.com
I was watching some TV about seabird colonies in Scotland and the scenes of the wild sea made me want to try some techniques I saw in a book by Nita Engle. There is no brushwork in this painting except to use them to flick paint onto the paper and a little bit to finally render the seabirds. She actually uses an applicator to squirt the paint onto the paper so that you can get regression with the waves – a degree of control that you cant achieve by flicking.
I did a second painting – Headland – which more reflected the programme, although the headland just appeared out of the marks so I did use a bit of brushwork to bring it to prominence .
I might use some pipettes I have to mimics the spray application and gain a bit of control with the waves. However I do love the wildness that this approach brings. So I might bore you with another one soon.
I was going to do this as a mixed media piece with pastels, similar to an earlier one of waves I did, but as I started painting I wondered whether it could be all done in watercolour, so this is the result. Using pastels allows a more gestural approach with the mark making which I suppose is more reflective of the restlessness of the sea, so I am wondering if this is a little static. I’ll ponder a little further.