Location Sketching Influencing My Studio Painting

A question that came up with the group of pleinair painters from the US who were on an art retreat on Skye last week was how I thought my on-location painting would relate to or influence my studio work. My answer was (paraphrasing) that I had no idea but I imagined it would be roundabout not directly connected.

Wrong! Sunday was my first “normal” studio day for a fortnight, and when I picked up a little painting to complete it, I found myself reaching for the Payne’s grey acrylic ink I’ve had so much fun using for location sketching. The painting ended up quite different to where it was — more intense colour and strong black (or rather, Payne’s grey).

Dabbing off areas with excessive ink
Red earth ink added
Iridescent green and yellow inks added. (Iridescent simply because I had them to hand.)
Adding white ink with a rigger brush in the sea. I also added blue to the sea, and raised the horizon line slightly so I could include some sea to the left of the sea stack.
As it was when I left it to dry overnight. I was liking where it was.

I still liked it in the morning, and have found myself continuing to reach almost entirely for my acrylic ink.

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