"Tabago Cays" 25"x 64"acrylic L Kennedy (click on all images to enlarge for a better view)
A painting rarely proceeds from start to finish without rough spells . You can be sailing along beautifully and suddenly realize that you’re stuck on a reef. The painting you saw under way in A Long Weekend in the Colorado Caribbean had charcoal lines on the surface as I hadn’t resolved the palms. This week, let’s think about some techniques / rescue equipment for trying out differing solutions to a problem area.
working it out with vine charcoal
Trying out ideas on the surface with vine charcoal. Marking to test curves, rhythm, design, etc. This helps with imagining how the painting might look with such changes. The vine (not compressed) charcoal dusts right off without leaving a mark when it is used over dry acrylic.
time to start from the beginning again with the palms
I tried putting in some ground plants, but it made the beach feel too narrow. Who wants a cramped beach? Better take them out and put in the shadow of the palm.
A day at the beach? I don't think so - trying to resolve paintings can make you feel a bit crazy
Now that palm looks a little too lonely. I want "isolated" not " lonely".
Using a broken brush because I thought it might be fun - anything to get my interest back.
This will do - palm trees, acrylic painting detail
To see three other painting that are part of this commissioned series , check out these old lessons from back when this blog was The Virtual Art Salon:
I never showed the finished pieces, but there are some good tips in the posts.
Ports of Call, Part II
St Jean Cap Ferrat on the French Riviera (25" x 64" acrylic ) is one of the other commissions delivered this week. Lillian Kennedy