Photo Gallery: October Painting Project (Camus Mor Bay)

It’s so interesting to see a landscape familiar to me through other people’s paintings. For this project we were at the bay at Camus Mor, somewhere I often go, sometimes sketching, sometimes watching the waves. When the sea is calm, it takes on all sorts of reflected colour from the hillside, which Eddie has conveyed beautifully:

By Eddie: “Acrylic, with pumice gel, clear granular gel and light moulding paste and lots of glazing. This is my attempt after corrections suggested by Marion. Compared to the original I have reshaped some hills and shadows and made the rocks more colourful.”

From Marion: “Just the right level of reworking, not losing what was working whilst moving it that bit further.”
By Bee: Ink and watercolour.

From Marion: I love the delicateness and understatedness of the colour, the strong shapes that are quite abstract if considered individually yet together read as landscape.
By Bee, in acrylic Those cliffs have got a sense of imposing grandeur, dominating an ancient landscape of dark volcanic rock.
By Cathi: From sky down to sea, there is a tissue paper underlay, giving some fabulous textures. My masking tape was very old and because it was on the paper for over a week it shredded the paper when I lifted it….. but I like the ‘happy accident’ where a rock broke the base line.

From Marion: That’s a very happy accident indeed — it looks deliberate!
By Cathi: “This entirely ink. I love the granulation produced by Indian ink diluted with water.”

From Marion: The granulation gives a lovely sense of texture through suggestion, engaging my imagination. I like how close looking reveals the fine pen lines, and the use of negative space for the sea with just a hint of colour.
My project painting: the colours on the seaweed in the foreground are a bit too yellow-orange and I might still glaze over this with a quinacridone gold or something. You can watch a timelapse video of my painting this here.

November’s Project Instructions: Derelict Croft House

The derelict croft house that is the subject of this month’s painting project is down the road and on a bit from my studio. I’ve walked past it many times though I’ve never ventured inside, partly because the ground around it is very water logged and partly because it feels like it wants to be left alone. I have, however, taken many a photograph of it in various lights and weather conditions. If the sun’s in the right spot, that gangly tree casts intriguing shadows on the wall.

Ruined Croft House on Skye with corrugated iron roof
Click on photo to see the biggest version of it.

In this photo, the sky has been blown out white by my camera. Judge how clear or cloudy the sky would have been by the shadows in the photo (or the lack thereof), as well as the colour of land in the distance and the sliver of sea in the distance on the right beneath the hills of Waternish Peninsula. To my mind the answer is: it’s partly cloudy, with cloud over the building but sunshine in the distance.

COMPOSITION: I would leave out the other houses to the left of this one because they’re more modern don’t match the ruined building. They’re just a distraction, as are the pine tree and electricity poles.

Whether to include the fence of not is a harder choice. It adds location and character, but doesn’t want to distract from the bulding. Certainly you don’t want it heading neatly into a corner as it in the photo. (Have you noticed that this pole is round and goes above the top strand of barbed wire, whereas the other fence posts are square? It’s because it’s a more substantial pole found at a gate or the corner of a fenced field.)

The roof windows are also something I would consider leaving out, because I enjoy the colour and pattern of the corrugated iron roof so and they interrupt it. The wooden pallet across the doorway is to keep sheep and cows out; you’ll need to decide whether it’ll make sense in a painting or not.

FORMAT: The photo is in landscape format, and this is probably how I’d paint it but that’s because I’ve taken numerous photos and from those selected this one. So in some way I’ve already consider possibilities even though I haven’t drawn thumbnails. I think a horizontal format echoes the horizonal length of the building, and the horizonal bands of colour to the right. The broken wall on the right-hand side feels to me like it’s having a conversation with that part of the scene, like it’s inviting it in or trying to escape into it. (I do realise there’s a bit of overactive imagination going on there.)

COLOURS AND STYLE: This scene lends itself to all sorts of possibilites, from realism with the enjoyment of painting the details and textures (possibly with a close-in crop), to expressive conveying a sense of the emotion and character of the building, to collage and even abstract, where you might reduce the building to shapes of colour and lines echoing its decline.

You might use only black and white to give a sense of sombreness, perhaps sepia and white. You might use realistic colours or you might exaggerate colour for dramatic effect. You might use corrugated cardboard for the corrugated iron roof on the building (in the style of contemporary painter Pete Monaghan) and texture paste for the stone walls.

SUBMISSIONS TO THE PROJECT PHOTO GALLERY: As always, you’re invited to email me a photo of your project painting to include in the photo gallery. This can be first name only, under a pen name, or under your initials if you prefer, just let me know in your email. I look forward to seeing your results!

The photo below was taken a little further up the road from the house, in summer which is why it’s all so green. I’m including it here to give you some other views of fences and fence posts, as well as an idea of what the road past the house looks like.

Royal Mail Van Skye Scotland
Complementary colours: red and green

Timelapse Video of My October Project Painting

This is a timelapse video of me creating a painting for October’s painting project of part of the bay at Camus Mor. It’s acrylic and oil pastel on watercolour paper.

NOTE: Be warned, the light in the video flickers somewhat as the camera tries to deal with my moving around. I might just have to do video on overcast days only. And, yes, at one point Studio Cat Ghost is riding on my shoulders (around 03:51)

If you’re not seeing the video above, this link will take you to it on my Vimeo channel.

You’ll see I initially sketch the cliffs to far to the right, but don’t bother erasing the incorrect lines as I know I’ll be painting over these with opaque colours. Then I start covering all the white, or blocking on areas Colours used: cadmium yellow, quinacridone gold, phthalo turquoise, cadmium orange, magenta, Prussian blue, perylene green, titanium white. Plus oil pastel. Medium and small flat brush; rigger brush.

The phtalo turquoise is a bit intense; my thought was that I didn’t want too dark a dark at that stage and that a green-blue would give a sense of the green on the hilltop and reflected in the sea. After I’d done it, I then worked at subduing it hrough layers without obliterating it

At 04:44 i’m using oil pastel to fix the edge where I’d torn it taking off the tape (I really should be more patient and careful doing this!).

When I looked at the painting the day after with fresh eyes, I realised I’d aligned the sea horizon with the edge of the headland, and that the sea was pouring off to the right. I used some oil pastel to move the horizon up a bit and straighten it. The yellow-orange in the foreground could be more golden, and I might still glaze some quinacridone gold over this.

Painting Project Photo Gallery: Portree Harbour

One of the reasons I chose Portree harbour as the subject for September’s painting project was to motivate myself to paint it. It’s a very distinctive location, with its line of colourful buildings along the shore and the tree-covered hillside and Gathering Hall behind. It’s a complicated subject to paint because there’s so much going on, not least all that architecture. I’m sure the paintings in this photo gallery will inspire you to give it a go if you haven’t already.

First up is Robb, who I met as a painter through the projects and forum of Over the past few years Robb’s been focusing on his ceramics, but has now combined both in this pictorial tile:

By Robb: Thanks for the inspiration! My ceramic rendition of Portree on tile form. I used a mid-fire clay, creating multiple layers from the tree line to the quay. The glaze is an under-glaze, left on “over glazed” because I like the matt finish of the under glaze.

From Marion: Exciting to see you combining your painting and ceramics!
By Shirley: “It doesn’t resemble your photo project for September but at least it got me painting which I can’t find much time to do anymore.”

From Marion: “The photo is but a starting point, and the end result doesn’t have to resemble it. Just by getting you painting again, the project has done its job!
By Bee: A rather a quick attempt at September’s subject.

From Marion: A fineliner pen gives a consistent width of mark, which I think suits the subject, adding a sense of rigid, solid bricks and mortar and tile. With just enough wobble to some of the lines to give it personality.
By Bee: Watercolour and pen. Realise now I should have put more trees behind the meeting hall and toned down the end of the church.

From Marion: I agree about lightening the tone on the church and its belltower, possibly reducing the latter in size a bit. Then the trees bhind will read as having mist slowly lifting as the day warms.
By Mark: My efforts this month. I found this quite hard.

From Marion: Is is a hard subject as there’ a lot in the scene and a lot of architecture in it. I think you’ve done it justice in both your paintings!
By Mark:
By Claire: “A scene I have always wanted to paint but unable to reconcile loose and expressive with all those straights! I have tilted my painting to make the harbour appear horizontal and I would like to make the trees and large hall less dominant or more abstract. This my reworked painting, my attempt to knock back the trees and stop the Gathering hall ‘looming’ to much after Marion’s advice ”

From Marion: “I like the loose line work on the harbour wall behind the boat. It adds visual intrigue, dances my eye along, and changes the pace from the water and buildings above.”
By Eddie: Inspired by a recent watercolour plein air course I decided I had time to do a fairly quick watercolour version. It looked a bit anaemia so I decided to add some pen work as well.

From Marion: I think the addition of the pen helps bring the foreground closer, sitting well with the stronger colour.
By Eddie: Mixed media
By Eddie: Mixed media
Line drawing of Portree Harbour
By Cathy: Continuous line (almost). All that fabulous perspective so let’s make it a bit more difficult This totally supports the theory that you don’t need to be totally accurate to get a feel for the place. Lost count of the doors and windows and drew a line at including all the cars! Not sure whether to add a suggestion of the colours in the buildings or not. Think I probably will add just a hint of colour.
(See this blog post)
By Cathi, with colour added

I had several attempts, some more successful than others. This is the one that pleased me most from a “trying to do something different” point of view.

This was the end result of my first attempt (see video) after I added some oil pastel

And last, but not least, a submission inspired by August’s Tall Trees photo from Lorraine, who says she was “playing with ink”:

Project Instructions: Camus Mor Rocks

Camus Mor on the Isle of Skye

For this month’s painting project we’re at Camus Mor on the northwestern tip of the Trotternish Peninsula on Skye for a scene with a foreground of large rocks, a middle distance of pebbles, and a green hillside at the back.

Camus Mor on the Isle of Skye

For me it lends itself to a composition focused on the rocks and pebbles, that lends itself to expressive mark making and textures, to abstracted with its feet in realism. The different colours, sizes and shapes in the rocks.

One of the compositional choices would be whether to include the sky and hillside at all. There’s the enticement of reflected colour in the sea — blue from the sky and greens from the hill. Plus the line of colour of the washed-up seaweed on the high-tide mark. And the echo of green between the foreground seaweed and the hillside.

There’s a lot going on in this scene, so consider whether you’re going to focus in or go wide and include it all. This is view to the right, with the whole of the hillside:

Camus Mor on the Isle of Skye

And here’s some video I took at this location. Add a soundtrack of waves lapping and pebbles rolling, and the feeling of little breeze tickling your hair.

With the greys and browns, it’s a chance to use a blue + orange + white recipe as this produces a range of interesting browns and greys that harmonize together because they’re all based on a mix of same colours. If this is new to you, maybe try cadmium orange + phthalo blue. To get light tones, you’ll need a good lump of white.

A perylene green (or black) will give you the strong darks, and mixed with yellow it’ll produce a range of earthy greens.

I’ve painted this location quite a few times over the years, most recently using granulating watercolour, which I’m enjoying for the sense of texture it gives. See:

September Painting Project Submission: Portree Harbour in Continuous Line

All that fabulous perspective so let’s make it a bit more difficult by doing it with (almost) continous line,” laughed Cathi when she told me about her painting of this month’s project. “My painting totally supports the theory that you don’t need to be completely accurate to get a feel for the place.”

Cathi continued: “I lost count of the doors and windows, and drew a line at including all the cars! Superb fun doing it. Not sure whether to add a suggestion of the colours in the buildings or not. Think I probably will add just a hint of colour.

My response was that I love how it poetically captures the feeling of the location, pulling my eye along the dance of doors and windows up and around. Poetry in line. And at no point does it make me feel like I want to count the doors and windows to check it against reality; it feels right.

Whether it wants a touch of colour or not is is tricky decision, because it’s beautiful as it is, yet the colour is so part of this location that how can one not? Maybe use watercolour, then you could lift or lighten the colour easily (except for staining pigments).

Cathi decided she would add colour, sending me a new photo saying: “The sketch paper I used grabs the colour,  unforgiving, but for a sketch I like it.

The next day Cathi sent me another photo, as she’d decided to “make the greens darker so the houses pop out more.

I think it works really well. I also like the negative space of the sky and sea, the former being delineated by a near-constant line, the latter broken up by that dancing line that tells us there’s water in the foreground. It’s also inspired me and made me wonder why I haven’t tackled this with continuous line yet. Thanks Cathi!

Photo Gallery: Tall Trees Painting Project

It’s been a joy seeing what paintings have come from August’s tall trees photo, and hearing from people how one painting has sparked another. There’s a reason artists such as Monet and Van Gogh painted series! Scroll down and enjoy!

By Mark: Acrylic paint and some black (and white) acrylic ink.

From Marion: I like the use of white space for the sky, gives it a Chinese painting feel. Delighted to have you sharing to a project gallery for the first time!
By Gail: “My rendition of the August project, which I enjoyed very much. Acrylic on paper with a little ink drawing.”

From Marion: I like the depth and distance created by the strong darks in the trees and the light blue mysteriousness that lies beyond the trunks.
By B: ” Not very happy with this the ink got a bit out of control. The red is little red riding hood among those big scary trees, can you find the wolf?”
By B: “Second attempt, largely water colour, quite a bit of negative painting and no little red riding hood. I think this was more successful.”

From Marion: I agree that this is more successful. There’s a lot going on for the eye to wander around, unpicking the trunks and branches, shapes and patterns, with breathing space. White space for a change of pace and a visual pause/rest. The calm forest after the wolf has left…
By Eddie: ” I have done a lot of these because trees are definitely my thing. Most, as Marion pointed out, were very brown and green. She suggested I do two more with no brown or brown mixes and no tube green, one using bright colours and the other muted. I found this difficult but very rewarding. I started both with the same or very similar under painting, then added thicker paint. This, in case you can’t guess, is the bright version.”

From Marion: Full of colour that reveals itself the more you look but still strongly rooted in realism. I’m hard pushed to choose a favourite between the two.
By Eddie: ” This is the more muted version.”

From Marion: In midwinter there’s a lot of purple in the stands of trees along the road to Inverness; this feels like those.
By Eddie: “Inspired by the “no-brown “ trees I decided to add bolder colour to a brown pastel version which improved it no end.”

From Marion: It feels like late afternoon sun hitting the trunks in autumn.
By Claire: ” Here is my quick first attempt. In watercolour, acrylic ink and a touch of pastel, wet in wet . Il’m not happy with it as the colours ended up dull ad overall it looks dark and brooding.”

From Marion: Nothing wrong with dark and brooding, though it’s frustrating to end up there when you’re not aiming for it
By Cathi: “Ink and watercolour, with ink wet on wet, waiting for it to dry then adding the bright green leaves with ink coloured with watercolour. I have found a lovely pearlised white ink which readily accepts watercolour.”

From Marion: The splash of yellow-green feels like the tailend of autumn where a sheltered tree has managed to hold onto its leaves. For me it has the perfect balance between abstract and realism, interesting mark making that pulls me in and rewards close looking, with subtle colour to add to the intrigue. Imagine in real life with the pearlised white ink it’s even more so.
By Cathi: “Using watercolour on my canvas paper giving a much softer effect.”

From Marion: Such a different feel, gentle overcast morning light.
By Cathi: ” Monochrome ink on Khadi paper. I love the effects with this combination and want to try other ideas using them. The ‘over-drawing’ at the end was probably a mistake but I’m still experimenting!”
By Sarah: “My second go, haven’t finished it yet, but the month has come to and end so here it is. Thoroughly enjoyed working with the orange background.” From Marion: I like the orange, it adds a warmth and autymnal feel, as well as giving the fun when painting of interacting with other colours. I think this is looking good, and hope you will continue with it.
By Erika: “Forest Whisper in D-flat Minor “. I found this to be a tough one — so many options, so many trials — a small piece in the puzzle of learning more about art and myself and the eternal search for happiness in the results.

From Marion: My favourite section is the blues on the left, the light between trees, with the suggestion of pine branches or leaves in the lines above, which could also be a record of the movement a conductor’s baton during a performance.
By Erika: I’m much happier with this painting “Owling at the Moon”. Collage with tissue paper and golden wrapping of chocolates….it took many wrappings to find the right one!

From Marion: For me the tissue paper creates a beautiful sense of silver birch trees on a full moon night,

Inspired by July’s photo:

By Gail: Enjoyed this one too. It is done in acrylic and ink. I liked the challenge of the dark sky and the sunlit houses.

From Marion: Absolutely feels like a Scottish beach with the sun playing against the clouds rolling in.
By Claire: ” I have taken liberties with Findhorn beach (I didn’t want to put lots of grass in the picture and I wanted to open up the beach) but I hope it still works! My perspective is a little wobbly but I decided it was better to leave it! Translating pencil to paint in small areas proved difficult.

From Marion: I like the contrast between the strong graphic diagonals of the rocks, sand and sea against the softer diagonals billowing clouds. It creates depth, pulls my eye up and in, with different visual rewards in each section.

My thanks to everyone who’s shared their paintings for us all to enjoy and learn from. You’ll find a list of all the projects here. It’s never to late to do any of these, and if you email me a photo of your painting it will join whatever the next photo gallery is.

And, finally, a reminder that if you become a project subscriber, you can get feedback from me on your painting either by email or in the project community, plus access to exclusive project-related content.

Video: My First Attempt at Painting Portree Harbour

One of my reasons for selecting Portree harbour as the subject for September’s monthly painting project was to get me past the point of merely thinking about painting it and to give it a go, all that perspective in the buildings or not. The video below is of my very first attempt at this subject.

I regard it more as an exploratory study than an resolved painting, there are bits that I like and bits I don’t. Most of all it’s a painting that has got me past my fear of the subject, made me study the scene, and motivated me to try again.

I have since changed the building that shouldn’t have been pink to yellow using acrylic paint, but otherwise am not going to ‘fix’ this painting. Its job is to help me create other, future paintings. I think there’s too much black on the hillside, and some of the ink work is too messy rather than linear. My favourite bit is the water, and that I did it at all.

The non-photo blue pencil I started theoretically is easy to eliminate from photos; I like it for its soft colour that gives me a round of sketching before I get to graphite. I used a propelling pencil with 2B because it means I don’t have to stop to sharpen a pencil.

I’ve moved to the advert-free Vimeo for my videos. You can follow my channel here.

September’s Painting Project: The Instructions

Portree Harbour, Isle of Skye

This month I’ve chosen a subject that’s got bright colour and lots of architecture, the harbour in Portree. It’s a wide scene with a lot going on: buildings, boats, sea, shore, trees, a bit of reflected colour in the sea. I took the photo from the roadside on the other side of the bay, which looks down at the scene; the distant view is hidden by cloud.

Portree Harbour, Isle of Skye

The building with a point at the back is a church, as you probably suspected. The long brown building in front of this to the left is the Skye Gathering Hall. The left-most section of the pier is full of the less aesthetic elements of a working seafront such as fuel storage, which I’d probably leave out.

You could look at all this detail and start panicking about getting it all right, or you could relax and think that with all this variation in real life, some more variation in your painting or drawing will fit just fine. For me it’s foremost about getting the feel of the location, the poetry of the place, not about accurate perspective, which we can all do if we spend enough time learning and practising.

Emotion first, analytical second. Have a go, then compare and analyse, then go over it, perhaps with another medium, or have another attempt. Remove the unrealistic expectation of getting it all ‘right’ the first time, and instead treat it as a painting in which things may move or be repositioned as it develops.

When you’re looking at the row of colourful buildings, notice that:

  • The green building’s roof windows have flat tops rather than pointed and the central one isn’t aligned with the windows on the floor below.
  • The right-most blue/yellow building has roof windows that have tile below them and there are two shades of yellow/orange.
  • The left-most pink building has two roof windows but three windows on the floor below, as does the white building next to it.
  • The left-most white building has a gable end and chimney over the two central windows.
  • Some windows are single, others are double.
  • Some buildings have chimneys, others don’t.

The first decision is how much to include, and how much to leave out. Part of that decision lies in the format of your composition, whether it’s landscape, portrait, square. For me if you’re going to include the whole row of buildings, then landscape. I’d crop off the buildings on the right and the left.

You might decide to focus on a small part of this scene. After I painted the whole scene, I found myself entranced by the chimneys on the right hand side. This became the subject of my second painting:

Buildings at Portree Harbour with multiple chimneys

As always, medium, size and format are up to you. I look forward to seeing what this inspires. If you’ve done a painting in response to a project, whether the current month or any earlier one (see list of painting projects), do email me a photo to put in the photo gallery so we can all enjoy it. Happy painting!

Studio cat Ghost enjoyed helping me with my first attempt at painting this. He also features in the video of this painting (which I will post later this week) and the one of my doing composition thumbnails (which will be available to project subscribers).

Photo Gallery for July’s Painting Project (Beach Huts)

I’ve had fun looking through the paintings done in response to July’s painting project, the number and colours of the huts, the imaginations applied to the scene, and the depictions of the weather (knowing as I do that it was threatening to rain as I took the reference photo). Scroll down and enjoy the paintings!

By Lorraine: Beach huts Borders style!

From Marion: Enjoying the splashes of colour in the foreground, in the grasses and washing, against the calm expanse of a sandy shore that invites you to walk along it.
By Erika: “Tried something different this time by combining both subject matters (cabins/people) in one painting with lots of quiet space in between. Since I’m not a quiet-type person, I feel it needs more (kites flying, dogs in the foreground, at least some sgrafitti) but for now it shall be left as is.”

From Marion: I like that your figures are dressed for a typical Scottish summer! The composition works well for me, with the bands of calm top and bottom containing the central diagonal where everything is happening. And the line of white dancing across the sky pulling the eye across whilst adding visual interest into the dark sky; it feels like lines drawn by two birds who flew across. The pebbles enhance the connection of the main focal point and the secondary.
By Bee: I used oils which I have done very little of and enjoyed it , I find I keep fiddling in oils in a way I don’t in other mediums.
By Sarah W: ” After much fun and learning thank you Cathi and Marion, this outcome I throughly enjoyed and learnt a lot about perspective and horizon line . In Inks and watercolour after tracing .”
By Sarah W: Its been a let’s finish morning , playing , looking and knowing it is not as the photo represents. I have thoroughly enjoyed the learning on perspective and playing with a result I didn’t expect until I stood back. Sorry the beach dissappeared in my project.

From Marion: ” Sometimes paintings take on a life of their own and I believe it’s important to see where this leads because it can be to interesting, unexpected places. You can always go back to your original idea another time.”
By Barbara R: I enjoyed the dramatic skies and the challenge of trying to get the perspective right on the beach huts. Mixed media (watercolours, inks, Brusho, collage on the pebble postcards).
By Barbara R.
By Barbara R
By Barbara R.
By Cathi: I toned down this painting of beach huts from where it was, and think it looks better being less fussy.
By Cathi: Then I titivated the texture paste lone hut. I think it looks as if it is floating on top of the beach but didn’t know how to “anchor” it.

From Marion: Adding a little darker shadow beneath the hut and glazing a little of this out onto some of the pebble sand may well be all it needs to anchor it. The sense of rain shower from the sky created with the drippy paint is very effective.
By Cathi: This is my watercolour on canvas paper version which has a much more subtle feel to it. Something a bit old-fashioned about it and the ochre splodge in the sky almost disappeared!
By Cathi: My “spontaneous” ink version which I think it is my favourite, though I do like the watercolour above.The paper has curled so the perspective looks way out, I know the middle hut is ‘dancing ‘ a bit!

From Marion: I found myself looking back and forth between this painting and the previous. I like the strong ink mark making on this one (hardly a surprise) but also the gentle colour of the previous.
By Cathi: The shed in the wood, with door and step. Ink, spray water, kebab sticks… the lot.

From Marion: For anyone wondering where the trees suddenly came from, I spent a day painting with Cathi and Sarah which saw me doing mostly trees inspired by what I could see through the windows as well as painting the beach hut scene. Towards the end of the day Cathi combined the two, and we were all doing mixed media.
By Cathi. Digital drawing.
By Eddie: This is my attempt at the sheds, after a few corrections suggested by Marion. I thought the huts were too regular so decided to move one out of line.
By Eddie: “I couldn’t resist trying the pebbles. I put a random brown and cream wash with a palette knife on acrylic paper. I then made washes on watercolour paper using granulating pigments and, when dry, I cut out pebble shapes and stuck them on to the acrylic paper. I added shadows on the shapes with a 6B pencil and decided not to add cast shadows on the ground. I covered everything with gloss medium to make sure the shapes were stuck down and protected. Finally I put on a thin blue unifying glaze.”

From Marion: Just as in real life I find myself mesmerized by the shapes, colours, patterns, trying to decide which are my favourites, which one I would pick up.
By Eddie: “Another version using the same process. I don’t often do collage and doing these reminded me why I don’t. They took a long time and I was in danger of developing blisters or repetitive strain injury while cutting out the shapes (not helped by using thick watercolour paper). Despite this it was a lot of fun.”
By Gail: Enjoyed this one too. It is done in acrylic and ink. I liked the challenge of the dark sky and the sunlit houses.

From Marion: Absolutely feels like a Scottish beach with the sun playing against the clouds rolling in.
By Claire: ” I have taken liberties with Findhorn beach (I didn’t want to put lots of grass in the picture and I wanted to open up the beach) but I hope it still works! My perspective is a little wobbly but I decided it was better to leave it! Translating pencil to paint in small areas proved difficult.

From Marion: I like the contrast between the strong graphic diagonals of the rocks, sand and sea against the softer diagonals billowing clouds. It creates depth, pulls my eye up and in, with different visual rewards in each section.

Of the various attempts I made at painting this scene, my first remains my favourite. You can see three versions (including the failed one) here. I also had a go at the pebbles using acrylic ink, on a wooden board primed with clear gesso. I started with the hope that the continuous line in Payne’s grey would work for the shadows without painting them in painstakingly. (Video of me painting this for project subscribers here.)

Wearing my new shoes that are supposed to not get near paint!

My thanks to everyone who’s shared their paintings for us all to enjoy and learn from. You’ll find a list of all the projects here. It’s never to late to do any of these, and if you email me a photo of your painting it will join whatever the next photo gallery is.

And, finally, a reminder that if you become a project subscriber, you can get feedback from me on your painting either by email or in the project community.