Considering the wonderful nature of the subject matter, I was quite disappointed with this. The colours look satisfyingly marine but that’s about it. I used sea water for all these paintings – I wonder what difference it makes to the final painting.

Here are a couple of photos of the breakwater which had been smoothed and moulded by the sea. The sad part was that we returned to this beach the next only to find a council worker with an angle grinder ‘repairing’ the breakwater

 

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This was our task, to produce a painting which told a story. We went round the exhibition in the Granary and looked at paintings that seemed to have some unexplained back story. The tutor then gave us a random selection of objects to weave into a painting which had a narrative. I chose a bird skull, a bird wing and some feathers. I was thinking of the Picasso landscape with the man under the tree possibly dreaming the distant landscape into view. After a fruitless attempt to convert the bird wing into some kind of blanket or cape, I just scrubbed it out and without any reference (no willing bald men in the class to pose) I struggled to get the form of the body under the drape. I really didn’t like the colour palette I had chosen. What I wanted was a soft grey mist or haar from which the bird objects would emerge like parts of a landscape. A real tough challenge in 2 1/2 hours.

3 days camping in Pevensey. I managed three paintings; two here and one sent as a postcard which I didn’t photo before sending.

I decided to try a style which i could do quickly and wouldn’t stress me (!). Both paintings took exactly one hour and were 8 x 5.5 inches in size roughly. The story behind this one was, despite being a hot sunny day, the wind whipping across the beach and creating quite large breaking waves on the steep shingle beach. So I crouched behind a breakwater for shelter resting on the breakwater to paint. But every time a wave broke on the beach I was sprayed with a fine drizzle of sea water and had to anticipate, ducking down to avoid both getting wet and having my painting spoiled. What with trying to hold the pad flat and ducking and diving I think people must have thought I was a bit mad.

This was was more comfortable to paint although my head was getting hot by the time I finished.

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Thank you for shaming me into doing a new painting. I have enjoyed the postings which are getting better all the time. Its been a long time and I had a sort of painters block fearing the worst if I did anything.

I tried to paint this scene from life and my painting was a disaster and went in the bin. I then decided to have a go without reference but painting the same scene from the picture I now had in my mind.  It helped. I was able to ignore detail. I felt much freer to use paint strokes that weren’t there, but I could remember the features which were important to me when I tried to do the original.

I am quite pleased with this as a transition painting and think I could improve it at a third attempt, I kind of know what I am after now so I have now decided that I am going to paint from memory for a while! After doing a trial to get me to look at the subject.

 

 

The first one is an evening view from Ayr seafront. It was done in acrylics on board. The second one is sunrise out of the clouds at Eastbourne and the third is Cooden Beach just outside of Bexhill.  Both of these are straight watercolours.

My two thoughts are a) I like all three of them and b) my 2018 holidays are not in the most exciting of places

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I have tried to make the blossom lighter and adjust the colour. I sat in front of the scene despite the fact that the blossom is long gone and leaves obscure much of the background now, but it was so lovely sitting in the sun hearing the birds sing!

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I think I’m turning into Mum. Here I sat, on Mum’s little painting chair, painting a rural scene, and I just couldn’t resist putting in the sheep despite the risk 🙂

My new great niece. Can’t believe how the slightest dab of paint can utterly change the face, and with a baby’s face being so largely featureless, you are relying on shape and moulding for accuracy.

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This is her:

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Here is my Red Kite done twice.  I’m not going to say which I prefer. I enjoyed doing both.  I admit neither of them would win a prize for best detailed, anatomically correct bird, but for me that isn’t always what a  painting is about.  It’s been awhile since I’ve been on here, but I’ve been catching up on all the comments.  You know you’ve had flu when  after you eventually make it out of bed a paintbrush is too heavy to hold!

The first is a straight watercolour

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This second one is done in Acrylic Inks.

 

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