On the easels in the studio I am back to a favourite subject… Tasmania’s coastline.
These both been started as demonstrations for students working on canvas. The large Bluff Point one is a scene which I have painted before. I want a painting of this for myself but the 4 I have done so far (oil miniature, larger acrylic on canvas and 2 quarter sheet watercolours have sold…. maybe this one will stay with me…. of course I don’t have to put them out for sale but I do like to share my creations). The source photo is one of my favourites, taken on a day when it had been raining, then the sun shone brilliantly while still the sky was dark to the west. We walked for ages towards the water along a gouged track in the sand. Such contrast of colours and the wonderful fresh air of our “wild west” coast. As I write this I can feel our rugged coastline beckoning again…. instead I will go to the studio and try to capture those intense feelings on canvas.
Bluff Point unfinished
The second work is almost complete but will have a she oak (Casurina) on the lhs. I have pencilled this twiggy, wind blown specimen in. Such vegetation is typical of our coastal areas and its many little twigs are a contrast to the sweeping curves of the beach and sand beyond. I was happy with the broken shells and pebbles to the fore…… as I look I can “feel” them under my feet and you do sense they are on a raised area above the sweeping
Bakers Beach Tasmania unfinished… acrylic on canvas
beach. Bakers Beach is a magnificent long stretch near Devonport Tasmania. Part of the State National Park System it is a haven for wildlife (wombats abound and there is a large area for waterbirds). Often there are few if any people on the beach this side of Griffith Point……. you can walk along and sing with the wind and no-one will even know. Love it.
BURNIE SHINES workshops. Drawing and Painting….. Beach Combers Collections. Including using Inktense Pencils. Draw and paint shells, rock, seaweed with tutor Evelyn Antonysen. Sunday October 7th. Book at the Makers Workshop. Also on Saturday September 13th Free flow wet-in-wet watercolour (beach) and Sunday 14th a little bit of Zen doing Sumi E (Chinese brush painting). Learn how to handle a brush with sensitivity to make a wide variety of marks. Grind your own Sumi Ink.
Another of my illustrative style watercolours. Good to keep drawing skills up to date. Different challenge to the free flow beachscapes which I am also currently working on. In many ways easier as more structured and I have a “path” to follow.
Some months ago I posted a half completed image of bull kelp worked in Derwent Inktense and watercolour pencils. Today I have the finshed work (photographed after framing to go to the Eskleigh art exhibition. This means the photo is not as good as it coud be due to the glass). For the wide bit of kelp in the front I took advantage of the texture of the paper to suggest sand. I did not dissolve the pencil marks much in order to retain the sand look. This contrasted with the main tubular kelp to the left in which I completely dissolved the pigment. The use of Inktense exaggerates the colour and adds to the abstracted quality of this unusual subject.
The second work showcases some of my collection of shells and “invented” rounded beach stones. The colours here are more natural. I love giving the illusion of 3D on a flat 2D paper surface. I have even found myself at times, when packing up, glancing across and going to pick up a shell to find it is an illustration. You will notice that my collection includes many broken shells. I love their internal structure (especially spirals) and the holes. .Perceived imperfections offer the opportunity to find alternative positives (much like with people). I started this work in November 2011 and have just one shell to complete (a small abalone, mother-of-pearl side showing) The work has been sold which makes me a bit more anxious about not mucking up the final shell!
First we played a little to see what marks could be made, how variable applications of water made a difference, and to get an idea of colour intensity. Then I set a task of drawing beach stones where each stone could be treated in a different way (some chose shells from my collection). I did a quick reminder sketch of using tone to suggest a 3D form then it was all systems go. No works absolutely completed but looking promising. Not as varied results as from their palette knife flowers workshop (shown on an earlier post) but this was a more tightly structured session. Some participants were not happy with their fan shell works so I quickly demonstrated frottage (rubbings) which worked well (and even better if more time and care taken). Because the colours stay fixed after wetting this medium is great for patterning then laying another colour over (such as a shodow) . The patterns underneath will be retained.