Yesterday I caught the ferry from Uig to Tarbert to deliver a painting, being met at the terminal because the ferry turns around rapidly, 20 minutes between scheduled arrival and departure. It was a nary-a-cloud-in-the-sky day with glorious sunshine, albeit wish-I’d-remembered-my-gloves cold.
Leaving Uig Bay.
Looking back to the Cuillin on Skye.
Pattern and colour, complementary blue and orange, cast shadows, reflected light.
Pattern and colour, nature and constructed.
March travel in Scotland … you have it to yourself.
The joys of the open deck on the ferry in the sunshine.
Complementary colours: blue and orange.
Heading into Tarbert on the Isle of Harris.
The ferry terminal at Tarbert on the Isle of Harris. Yes, that’s all there is to it. The ferry reverses out.
Heading out of Tarbert on the Isle of Harris.
I prefer this jaunty angle photo to the one with the straight horizon.
Prussian blue world.
Sea colours: Prussian blue and perelyne green and titanium white.
Sea colours: Prussian blue and perelyne green and titanium white.
Pattern and colour. Payne’s grey and titanium white.
Sea pattern and colour. Prussian blue and titanium white.
Sea pattern and colour. Prussian blue and titanium white.
Sea pattern and colour. Prussian blue and titanium white. Or maybe Payne’s grey.
It wouldn’t make sense to paint this composition, but as a photo I like the contrast between the reflected sunlight and the ripples/ship’s wake going off in different directions.
Prussian blue or Payne’s grey sea.
See a pattern in what I enjoy about the ferry trip?
Reflected sunlight makes even Uig pier look picturesque.
It’s that time of year again when the sun’s moved north and is setting past the tip of the Waternish peninsula and late (about 9pm) making for hours of enticing patterns and colours on the expanse of the Minch (sea between Skye and Harris). My fingers have been itching to paint it again (see Moods of the Minch catalogue). Here are a few work-in-progress photos, canvas size 120x60cm.
Yes, I am indeed mixing the sea colours directly on the canvas. I used the “sea area” as a palette and brush-wiping space while painting the rocky foreground and islands. Not only does it mean there’s no palette to clean, but also no paint wasted and a colour coherence between the sea and the rest of the painting. The “trick” is to use a biggish brush and to not overblend it into a uniform colour. It’ll get more layers of paint on top anyway.Painting the sea horizon with a flat brush and Prussian blue. The “trick” to this is that it has to be a really good brush, not one with errant hairs. And practice. And doing it when the islands are dry so it can be wiped off if it does go astray.The “trick” to getting the sharp edge on the outer islands is masking tape. Pulling it off for the ‘great reveal’ is always a fun moment!
Inspired by this winter’s storms and the non-arrival of spring. The paint is still drying in places where it’s particularly thick, so to remove the temptation of poking at it (“Are you dry yet…?!“) it’s now propped on the bookshelves in the in-house art critic’s office.
Popped into Skyeworks Gallery this afternoon to drop off a few Wearable Art pieces and some cards, only to discover the “Moon Over the Minch” had sold this morning. That’s two big paintings in two days! And, yes, I did celebrate with a piece of cake in the bakery downstairs.
These three small studies of the colours of the Minch, looking cross towards Harris, were done on 300gsm rough watercolour paper, three sheets placed alongside one another on a large board on my easel. The differences between them aren’t dramatic, but rather they’re studies focusing on the effect of small things, changes made after the initial laying in of colours of possibilities I want to consider. Here they are side by side for easy comparison:
I don’t have a favourite overall, there are pieces from each I will use in a larger painting at some point.
Using the long edge of a palette knife to spread and mix still-wet sections of separate colour in the sea, with the thought that it could convey a sense of a moving swell. Sea gets darker overall into the distance.Light blue on the horizon line and additional light blues over the dark blue sea in the distance. I think the light horizon line could’ve been thinner, or possibly an even-lighter line added. I feel the lighter blues in the distant sea enhance the feeling of depth.Very dark horizon line, with blues gradually getting lighter towards the foreground. Knife-spread swells in the distance. Softer edges on the tops of the hills of Harris, suggesting moving clouds.
I’ve been painting on a small scale again, on 7×5″ canvas (about 18x12cm). These two “mini Minch” seascapes are a memory of some of the wild weather I’ve watched blow across the view, where white horses churn up deep Prussian blue. Available from Skyeworks Gallery, ?35 each.