TM9206 Bright Days 36×60 oil on panel
The last days of summer deserve a walk on the beach, and Bright Days is my way of taking that walk. A little fog lifting in the distance, a fresh breeze, rollers making their way to shore – all serve to memorialize a perfect day. Enjoy. Details below.
TM9206 Brieght Days – detail from left side
TM9206 Bright Days – detail
TM9179 Not Yet 36×54 oil on panel
When I used to photograph waves, I looked for the significant moment when the wave was collapsing – the moment with all the drama. Now, I know that every moment is filled with drama and significance – the building concentration of energy can be more dynamic than the release, and the backwash, the remains of the prior wave returning to the sea, has a beauty all its own. Ultimately, every moment of every wave is unique, challenging, and worth the effort to understand and paint it. Details below. Enjoy.
TM9179 Not Yet – detail from lower left
TM9179 Not Yet – detail from advancing wave
TM9179 Not Yet – close-up showing use of differing viscosities of paint and use of oil to drag and spatter the underlayer
Technical painting notes: I started the painting with a roll-up (soft rubber roller) of darkly subdued blue greens. While the paint was wet, I used a mixture of oil and mineral spirits to streak and displace some of the thinly applied paint, especially up near the horizon line. I used the same mixture to spatter and blot “spray and bubbles.” To achieve the dragged effect, I used solvent to spatter the wet paint, then a soft brush to drag the dots of solvent, creating elongated drips and gaps. I also used a crumpled piece of plastic wrap to drag some of the solvent pools, again to suggest moving water.
TM9136 Incoming 30×30 oil on panel
I’ve painted a few waves, but I’m still learning. Incoming is all about the edge of the cresting wave, just before it begins to collapse. There’s transparency and a feeling of indecision – as though the wave weren’t sure when it should break, either. I want that in between moment. I think hesitation is universal. Details below. Enjoy.
TM9136 Incoming – detail from cresting wave
TM9136 Incoming – detail from upper right showing turning edge of wave with brushwork and spatter
TM9048 Nothing Less, Nothing More 36×60 oil on panel
I think of the beginning – air, water, land – and that sound. So primal and so eternal. It is the simplicity of these three elements interacting that intrigues me. Endless permutations and configurations, governed by precise rhythms. I can lose myself in the intricacies, my arm following the curve of a wave, my face feeling the imagined spray. Working with brush, roller, and paint I can share the moments.
Technical painting notes: The painting began with a roll-up of dark blue oil paint on the white, primed panel. I used solvents and linseed oil to manipulate the paint, spritzing the surface with droplets of the solvent then re-rolling the surface to create the impression of layered, active, water. A small amount of burnt umber was rolled into the foreground to suggest the beach. When this base layer was dry, I began refining the structure of the waves using traditional brush techniques and translucent pigments. Layers of transparent glaze were interwoven with the brushwork to create depth and luminosity. I experimented with spattering droplets of thinned white paint or solvent into the glaze to suggest spray along the wave’s crest, and used spattered and rolled white paint int he foreground to suggest the foam (air) in the restless water.
Two aspects – one painting from a foggy day, the other bringing back the blue. Enjoy.
TM9056 Watching the Waves Roll In #218 7×7 oil on paper
TM9054 Watching the Waves Roll In #217 7×7 oil on paper
TM8931 Winter Waves #3 6×6 oil on paper
TM8932 Winter Waves #4 6×6 oil on paper
Winter waves seem thick, a bit sluggish, but still powerful. Painting them, I chose to emphasize the weight of the water, and its rugged movement. There is a certain abstraction that occurs when the subject is brought closer. And energy – a big thunderous whoooshhhh. I like the vibrations.
Technical painting notes: I mixed Winsor Newton Liquin Impasto medium into the paint to give it body and to make it almost like frosting to spread with a knife. I also decided to utilize the off-white of the ground in contrast to the cooler white of the paint, letting the primed paper act as a color in itself. The “bareness” of the exposed paper makes the thick paint used for the waves seem even heavier.