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.