Two Lights, Cape Elizabeth

Comprehensive Charcoal Drawing

Between the Rocks and Sea

Two Lights Cape Elizabeth

12" x 18"

Although I don't have  any single process for creating a painting, this subject has progressed in a fairly typical way of late.  Spending time on location is always motivating.  I make a number of quick notes and sketches on note cards in addition to simply spending some time walking a location and observing.  I've begun using note cards for these sketches as they fit into a travel kit very easily.

Pencil notes from direct observation 4" x 5"

I then review a number of sketches and decide which subject to elaborate.  See below.

Pencil Comp Sketch

8" x 11"

Years ago I had a happy accident when looking through some old sketches - they were on top of one another and at times created new and interesting compositions.  So I now will intentionally crop drawings to examine other possibilities.  When I'm on location, its still easy for me to get caught up in the scene and not seeing things from a perspective of composition.

                                       

When examining the two halves of the picture - I immediately settled on the right side of the composition as much stronger the whole composition as originally sketched.  The left side of the composition seemed much too static when viewed in this manner.

I plan to execute a number of paintings from this drawing including watercolor, acrylic, and oil.  I enjoy exploring different media as the unique qualities of each capture different elements of nature. 

Elmer Ham floral

Elmer L Ham - Pastel Floral

Here is another fragment of a floral study by Elmer L Ham.  I've really enjoyed working through these fragments and experimenting with different compositions.  

I've never really tried collage before but I think I will in the future.  I'm now keeping scraps and bits that I used to throw away for further consideration down the road.   Sometimes preliminary pieces are so much more freeing to work on - that happy accidents can occur.  

While working on some of these fragments its been very interesting to see the different perspectives approaching abstraction. 

The above fragment is a Pastel.   Below is a watercolor fragment.

I'll include more floral still lives in other posts.  This subject matter definitely reflects Ham's training with Laura Coombs Hills.

Cape Cod - Dunes and Pines in process

Cape Cod - Dunes and Pine

Charcoal on Paper

Cape Cod - Dunes and Pine in Process

This subject was from our trip to Cape Cod last summer (2018).  The sun was very low so that the near dune was completely in shadow, only the top of the pine was illuminated as well as the far dune.  This is another example for me of the benefits of painting on location.  This was an effect on a brilliant sunny day that lasted for probably 10-15 minutes.  I would not have imagined this scene with the back dune illuminated - but there it was.  It was such a striking contrast.

On the right are half a sheet of small sketches done on location at the Cape.   I then did the large colored pencil sketch the top.  I don't work with colored pencil often, but decided to shake things up a bit and do some experimenting.

The small pen and ink sketch was a composition sketch resulting from a feeling from the other sketches and wondering if the background dunes closed the picture in too much.  I then began to work on the large charcoal sketch to further work out the composition.

Eventually I will complete a watercolor and or acrylic of the subject.

There really isn't one way I approach a picture.  Sometimes I work from pencil to charcoal to watercolor to oil.  At other times, I work from watercolor to charcoal.  It just depends on what I'm trying to express and at other times - what I have at hand. 

Every artist develops their own shorthand I'm sure.  I've seen studies by some of my favorites including John Stobart that made zero sense to me, but they weren't for me or even for public consumption.   I also find the process of doing preliminaries is very freeing, and sometimes wonderful things happen that wouldn't have if I had feared to "color outside the lines"