Brandywine Shoal Light, a favorite subject of mine.
I drew four lighthouses in the Delaware Bay--two one the Jersey side, this one and Miah Muall, and two on the Delaware side, by Cape Henlopen: the Breakwater Lighthouse and the beautifully named Harbor of Refuge Light. Thought they'd make a nice set for my upcoming art show.
I propped up the drawing so I could look them over for about 24 hours before I started painting; they looked okay to me.
The wonkiness always becomes apparent after painting!
I think I am going to have to work on how I draw lighthouses.
Last Sunday I took a plein air class on the beach in Cape May with Joe Milligan. Joe had the very good idea to have a class from 7:30-10 a.m., 10 a.m. being when the parking meters go on and the beach tag inspectors begin their rounds! Although Cape May was so pleasant I am going to buy a beach tag! (I usually go to the free beaches in the Wildwoods.)
Joe had a great lesson planned; we painted a scene he had painted previously.
I normally paint skies pretty simply, and all prima--all in one go, but after class Sunday, I think my skies are going to get more interesting!
A little early morning plein air painting with my friends Diane and Karoline; the three of us will be exhibiting our plein air paintings in mid-August.
We went to Poverty Beach, at the northern end of Cape May, a beach with lovely dunes and rough surf!
Diane and Karoline has both just gotten back from painting trips, to France and Tilghman Island, respectively, so we had a lot to talk about ... and also managed to get in a good hour or so of painting.
Once again my main shrub, a bayberry that had a wonky northward-leaning shape, came out looking like a Christmas tree. Really need to pay more attention!
I took a photo of this young woman leaving the beach last summer. (For once, I didn't get caught!) There was a bike rack and several more bikes, which I left out.
The underbrush was so dark, that's what made the image appeal to me ... but I think it needs to be darker yet, and less "green." Floating in more intense color on prewet paper may help me get the effect I'm envisioning. There's still too much anxiety in my attempt to hold on to edges: My ideal watercolor looks like it just happened!
I did kind of manage the effect I want in the spokes on the bikes: I didn't mask, just painted quickly and loosely, and didn't try to adjust or correct.
My plein air class decided to meet indoors yesterday afternoon because the forecast called for thunderstorms, so I decided to stay home and finish this.
Still working on finding my way with the dune grasses and fences--though this is the best fence I've done to date! I feel I have a way to go with the grasses; while these aren't bad, I want to find a balance between making each clump discrete and letting them run together more, letting color or value, rather than shape, delineate them.
I signed up for a six-week plein air class that meets Tuesday afternoons at Burcham's Farm, about half hour north of me, on the Maurice River. It's a beautiful property, lots of green, though so it'll be a little challenging for me.
The instructor paints in gouache and the other students are oil painters.
I started with the 8x8 above to try to reduce the overwhelming to something manageable!
I took just a little piece and tried to just concentrate on values.
Prior to class tomorrow I hope to study a few watercolors by Edward Hopper, who had such a lovely, unfussy way of painting grasses!
We, and our paintings, got rained on a bit, but we kept on painting. In my case, the raindrops added texture to the rusting hull of the Alexandra L.
In Bill's case the rain dappled the light in his sky! Bill always paints on a full sheet; while I usually use quarter sheets--or smaller. I usually finish or even overwork my paintings; he takes his home to finish later.(You can see Bill's paintings here.)
William Yerkes, 22x30
A little painting of the muddy low tide shore that I started to keep myself from picking at my boat painting.
Above I cropped out the part of the painting that I didn't like (and so didn't finish): the red boat really got away from me ... made a couple of bad decisions, which is okay, especially when painting on location, where I never expect to come away with a painting I like; it's more about the experience, and hopefully finding a subject I might revisit.
I revisited this subject the very next day, on location again ... Still not entirely happy.
Next time: 1) nothing on the horizon and 2) no black rigging! I initially liked the black rigging because I wouldn't have to do more negative painting, but it just looks flat and messy to me. Maybe a midtone gray next time.
More little tries at beach grass and brush. I like the analogous colors.
Hoping that--even though I won't be spending 10,000 hours on them--a steady practice of trying to render beach grass will lead me to a way that satisfies me.
Below are two paintings I did on location about ten years ago in a workshop with Charles Reid when he came to Cape May. (The very next week I had a workshop in DE with Ted Nuttall--a good two weeks!)
Of course, I had all his books and a few of his videos.
I loved watching him draw; it was like you were watching his mind work, and I guess you were.
It's remarkable to see all the artists across so many different platforms paying tribute to him. He really changed the game.
Finished. Although, as I often do, I see I neglected to go out to the edge on the roof ... I'll fix that later! And maybe try to vary the wash on the roof a bit; it's too same same.
Below is a photo of the painting when I first thought it was done, then I noticed the three dark tree shapes--all evenly spaced! Not good. So I added a few small darks to connect them a bit; I think it's an improvement.