“Today a local artist came to visit Year 3, as part of our Global Community Project. We watched a time-lapse video of her work and talked about the different colours we should use when creating our own artwork of the sea. She also showed us some prints of her work. We then had a go at painting our own seascapes!”
I had a great time on Monday showing Year 3 some of my work and a video of my work in progress. Then we all had a go at painting and colour mixing to create some interesting seascape paintings together.
I decided to look at this existing seascape again and change some aspects of it.
This painting has undergone several changes overtime. The earliest photo of it is here. Sometimes I find it really helpful to go back in time to see where the painting was working before I became unhappy with it. I had forgotten the sky had been this light grey until looking over old photos.
On the same day as the image above I had reworked the wave, but had put too much black on the underside of the wave.
The following day I had reworked the crest of the wave to a more pleasing shape and colour. Unfortunately I had decided for some reason to change the sky, which I can now see had already been working.
I changed the colour of the sky again to a strange blue.
Then I applied a glaze of light turquoise. This covered up too much of the under-painting and made the painting milky. By adding too many white highlights, I lost some of the definition on the surf
So recently I put the painting back on the easle. Then with a lot of turpentine, white spirit and elbow grease I scrubbed back the turquoise glaze to reveal the under-painting. Returned the sky to a light grey giving the focus of the painting back to the light coming though the wave. Also gave more definition to the shadows and the tunnel.
I think I’ve learned through this that it is vital to recognise what is working in a painting at its earliest stages. Hold onto those elements and don’t over glaze for the sake of it.
I am working on a new turquoise seascape and I thought it might be interesting to show the various stages of this oil painting. I like the beach feeling of this image and the way it reminds me of Mediterranean holidays taken in the past.
I am blocking out the main colours and trying to resolve the composition. Also keeping in mind the tonal qualities. I have struggled with tonal qualities in the past, either making the contrast too much or not enough to create the 3D quality needed.
Looking to add layers of paint to enhance the quality of colour and define the tones. Glazing using Liquin and oil paint. Still trying to keep the tonal qualities right, whilst defining the waves and surf more.
Adding more glazes to further enhance the depth of colour and the contrasting tones. The sea has become darker and changed in colour with more surface definition.
The top of the second wave has been reduced. This gives more depth to the painting. It also leads the eye through to the background. More glaze have been applied. In order to deepen the shadows. Highlights have been added to the surf. The painting needs to dry further before applying the final finishes.
This is the final stage of the painting. I have deepened the shadows and given more bulk to the surf and the highlights. I have also added more definition to the background. The painting is finished and available to buy at £395 with free postage in the U.K. It measures 70 x 100cm is signed and comes with a certificate of authenticity. Please follow the link for more details. https://catherinekennedy.co.uk/product/turquoise-seascape/
The canvas I have used measures 100 x 70 cm. Liquin which is a quick-drying medium for oil and alkyd paint. Various oil paints including yellow ochre, naples yellow, zinc and titanium white, phthalo blue and green, french ultra marine, viridian green, coeruleum, burnt umber, burnt sienna and paynes grey.
Starting a new series of paintings trying to highlight the plastic waste humans have put into the ocean. Look closely and you can see plastic bags, bottles and tin cans in the painting under the water.
“Travelling on ocean currents this plastic is now turning up in every corner of our planet – from Cornish beaches, to uninhabited Pacific islands. It is even being found trapped in Arctic ice.
Our oceans are slowly turning into a plastic soup and the effects on ocean life are chilling. Big pieces of plastic are choking and entangling turtles and seabirds and tiny pieces are clogging the stomachs of creatures who mistake it for food, from tiny zooplankton to whales. Plastic is now entering every level of the ocean food chain and even ending up in the seafood on our plates.”https://www.greenpeace.org.uk/what-we-do/oceans/plastics/
I am very pleased to be taking part in the Torbay Art Show, a brand new major art show, with work by over 70 local and national artists being brought to Torbay by Torquay Boys’ Grammar School. The preview night was packed and a great success.
The show is being held this weekend 13th – 14th October 2018 in the school’s Cavanna Centenary Hall. The space is has contemporary feel to it that enhances the work on show. Included in the exhibition are paintings, prints, sculpture, jewellery and glass pieces as well as a wide arrange of crafts. The torso sculptures of Susan Eckles were beautiful and the animal paintings of Katherine Lightfoot impactful.
This is a great opportunity for the school to display and sell artists’ work from across the South West and beyond and to also showcase the talents of the pupils and Art Department within the school and raise funds for the refurbishment of the new 6th form centre.
The other art fair presented by Saatchi Art showcases 100 talented independent and emerging artists hand picked by a committee of art world experts. Moving from the Arnolfini, Bristol to its new home at the Passenger Shed at Temple Meads train station. Highlights of the show include abstract landscapes by Venice based artist Stacey Gibboni, Metamorphica prints by London based artist Paul Kingsley Squire, Lawrie Hutcheon optical illusion work and Elaine Kazimierczuk vivid landscapes.
I asked some of the artists how they had found this years show. Some were taking part for the first time others had returned year on year. All the artists I spoke to found the organisers helpful and quick to answer their emails. Some of the artists had had help hanging their work on the Thursdays but I did speak to one who hadn’t had any help. Overall it seems a good show for artists to take part in, however sales were slow for some and they resigned themselves to it being a marketing exercise rather than one to generate income. There was free packing for any sales generated and also the ‘Own Art’ credit facility was available for artists to offer to prospective buyers.
Setting out the composition of my sea storm painting i.e. the combination of all elements in the artwork, not just visual elements, but also the mood and light.
Refining the composition. I find looking at the image from a distance, at least 20 feet away, really helpful. It can show things you have missed working close up. Also taking photos of the work can enable you to see things from a different angle and perspective.
Glazing. I use glazes to enrich the surface to the work. I may return to a canvas several weeks after applying an initial glaze to reapply another if needed. Drying can change to the look of a painting dramatically, so its important to give it time to develop.
Highlights. Once the glaze has dried or sometimes whilst it is drying, depending on the effect desired, I like to go back and highlight the crest of waves or the ripples on the ocean. This gives you a good depth of field.