Moorings: Finished

Well, it’s done. Finished size: 10"x 15" (Oh my aching eyes!)

It puts me in mind of a scene from my novel, Story for a Shipwright, where Sam Wesley is sitting in the local diner, looking out over the harbor on Sunday morning:

"It wasn’t truly the best seat, but the corner booth, partially overlooking the harbor and a few lobster boats suited me fine. While Billy perused his options, my attention wandered to the boats in the harbor—many of them were out for the day baiting traps, which is all they’re allowed on Sundays, from June through August. I thought about how consistent lobstermen are—they seem to recognize no distinction of day or season, heat or cold, rain or shine. Glancing around the diner, at old lobster traps hung from the ceiling, and picturesque scenes behind glass, I chuckled at how we who live here take their trade for granted. Funny, how tourists romanticize the industry, carrying it home in calendars or placemats, rarely appreciating the sweat that goes into the lobster on their plate."

…and thanks, again, to photographer Doug Wood…

"Stonington, Sunday Morning"

It’s time to post the image from which I’m working ! It’s called stonington, sunday morning, photographed by Doug Wood.

If you look closely, you'll notice that I condensed the upper and lower foreground (sky and water), cropped the left side, lightened the boathouse and eliminated some objects which I found confusing or crowded. This takes into consideration future prospects for this project as a possible book cover.

I continue to make slow but steady progress, giving my 5/0 brush a real workout; poor thing will probably have but a sprig or two of its sable hairs left, when I’m done…

...and for the record, yesterday's colors are a better representation...

The Right Half

In order to maintain an illusion of control with this piece, I’m working it in sections. Therefore, I’m posting the area I’ve developed. It’s by no means done, but at least the progress is visible.

A Bit More

It's not a whole lot, but it is progress…besides, I thought I’d better post something or you'll think I abandoned ship (bad metaphor, I know).

Moorings

This is indeed tricky business; I’ve never been too good at large-scale washes—not that this is large scale per se, but it’s more than I usually do with blending hues, and I’m real uncomfortable with it. (Perhaps I just never learned to do it ‘properly.’) I keep telling myself that it doesn’t have to look exactly like the photo—it’s the feel of it that I want. That is, after all, the reason I chose it. So, here are the first two steps: the drawing and the wash. (The sky wash is a little further along than I usually do at this stage, but it should be worked while it’s all wet.)

At this point, the hardest part is overcoming that angsty feeling that this is going to really suck—that I’ve taken on more than I can do well. I'm not happy with it, but if I overwork the sky at this point, I'll completely botch it. (No perfectionism there!) Of course, I’ll stifle that junk and forge ahead, ‘cause, well, I’ve posted it—and then there’s that wasting paper thing…I’d rather flop than waste a perfectly good sheet of paper. Besides, if it turns out poorly, then you’ll get to see both ends of my artistic spectrum.

Making Plans

I made the final decision on my next project. I’m trying to stay enthused about my novel, Story for a Shipwright, and yet realistic at the same time. Therefore, I thought I’d try, not only something completely different from what I’ve done in the past, but something that might have possibilities as a cover for the novel in case I resort to self-publishing.
Either way, it’s a gorgeous image that feels like the world of shipwright Sam Wesley. I especially love the atmosphere…if you’re interested in a preview, visit photographer Doug Wood’s Website, or here, for a glimpse. I plan to make a few minor revisions, and I’ll be translating it into a 10”x 15” image, something I can easily work with in the end...if I don't drive myself nuts with it before it's done!

Meanwhile, here’s my little painting hovel…As you can see, I've still got some framing to do, too...

Window on Eggemoggin: Done

One of the details I really like on this is the hook at the bottom.

Now I just have to figure out what I'm going to paint next...

Slow Progress

This is the labor intensive part where it probably doesn’t look as if I’ve made much progress…

...and yes, I did intensify the orange...


I don't think I'll post again until it's done...I think you get the idea...

The Photograph

I think it’s time to display the original photo from which I’m working. You may notice that I’ve altered the composition just a bit—the perspective and placement. One of the advantages of painting, as opposed to shooting a photograph, is that I’m not confined to any particular angle and don’t have to worry about showing up in reflected glass.

By the time I’m done, all the shingles will receive the same attention as the shakes at the top.

Thanks again to photographer Doug Wood for allowing me to place his copyrighted image on my blog!

Every Single Shingle

You might think that painting old, worn cedar shakes might be less intense than painting a cobalt pitcher—I know I did—but the more I work on this the more I realize how much detail is in each shingle. Granted, it’s not the same kind of intense, because there’s a lot more leeway in representing wood.

I know that the traditional watercolorist probably wouldn’t insist on all that detail, but what can I say? I’ve never claimed to be a traditionalist…

…and, by the way, this painting is 6” x 10”

Giving It a Wash

Thought I’d better post this before I get too carried away.

I thought I was done with the gradations of color on the windowpanes, but decided to add a little glaze (you probably can’t even tell…). Then, I gave the shingles a grayish wash, and next, I’ll jump around, painting individual shakes, building up the detail as I go.

Window on Eggemoggin

Here are the beginnings of a new painting. I’m working from an image by photographer Douglas Wood, who shoots some beautiful scenes of Maine*. So much of his work captures the world of my novel, Story for a Shipwright, and I do so love reflections on glass…don't know how well I'll capture it here, (it remains to be seen if this makes a far better photographic image than watercolor interpretation). It will be a less intense work than my previous two paintings, which is a nice reprieve.

After transferring the sketch onto watercolor paper (I don’t sketch it out on the actual paper, which does not like erasures), I mask the boundaries with tape.

Since I want the reflected sky evenly gradated, I use masking fluid (brush on latex, that really messes up the brush) to keep the muntins free from paint.










Essentially, the sky is done. The reflected foreground will receive added detail.







*Seriously, you should check out his Website. He even has some evocative black and white shots of a workshop--makes me think of my novel, again.