Evening Breaker #2

I've always loved the ocean.  The salt air, the sound of waves crashing on the rocks, the waves retreating back into the ocean rolling the rocks and sand.  A steady rythm, power,  and a vastness that seem to make everything else feel insignificant.

There are so many colors, both pure and reflected, and design elements that one could paint the same area of the coast day after day and never paint the same picture twice.  I particularly enjoy the coast during storms and other "off times."  

Though it has been many years, I still remember the power of the ocean when body surfing.  Literally being carried along, surprisingly fast by waves.  Learning to be patient and not to panic when held underwater by the power of the breaking waves.  The sting of salt water in my eyes and nose and the loud roar of the water of the breaker and the hiss of the wave stopping on the beach and retreating into the coming waves.

Below is a plein air seascape that I completed in Cape Elizabeth this past summer.

And a quick watercolor study from a sketch completed on location on Long Island, Maine.

Scarborough Barn

This sketch is an elaboration of an on location watercolor completed in Scarborough Maine more than a decade ago.  This is one example of why I do enjoy the challenges of studio work from on location paintings.  

I hope to be able to take various elements that do exist (though not in this exact composition) in a place and bring them together into a scene that people feel as though they've been there.  In this case, the ocen in the distance with a small peninsula and a barn on a sloping hill tucked amongst elm, spruce, and other hard and softwoods encroaching on what was, at one time, a working farm.

The trees existed, but for the purposes of the picture I reversed them.  I'll do another color study as the original painting was done in the fall.  The Ocean was not viewable in the acutal setting due to the heighth of the surrounding forest but it would have been where I've indicated it in the drawing.

Old Country Church

Old Country Church

Pen and Ink 

I am fascinated by old churches.  The buildings and surrounding graveyards are full of so much history.   This drawing is an amalgamation of many churches and locations seen throughout my years of travel throughout New England.

If pressed, I would say the main inspriation for this drawing comes from the Spurwink Congregational Church in Cape Elizabeth, Maine (Built in 1802) and St. John. the Evangelist Church in Pembroke Maine, build circa 1855 by Irish immigrants who had come to work in the Pembroke Ironworks.

As I child I explored the church in Pembroke (it was left unlocked and open to any who wished to enter in those days) but at the time I was more fascinated by the surrounding grounds and cemetary.  The ground in front of the tombstones was depressed - where the old caskets had collapsed over time - and the thick woods surrounded the graveyard.  There was a bald eagles nest nearby.  I could never quite find it, but I saw the eagles for many many years patrolling the nearby Pennamaquan River which drains into Cobscook Bay.  It was a magical place to explore as a child.

Find your own way, study with moonlight

I've always been fascinated and drawn to the effects of moonlight.  It always seems so mysterious to me.  In particular, in the winter, a full moon and frozen ponds and marshes would expand the world I could explore as a child.  It opened up corners of the woods often closed off in different seasons.  Even very familiar places seem different at night, and moreso in the moonlight.

I also vividly remember the brilliance of the moonlight dancing on the ocean - particularly in the cold winter air.

Here is a study for the second in the planned series of Androscoggin River paintings.   A night scene.  I've thought about doing painting series of a particular scene for years now and occasionally I've done it but in a time period of years not weeks.  I'm not sure exactly what has motivated me to purposely paint and draw this series, other than the incrdedible contrast of this change of season from Winter to Spring.

This scene was done primarily with indigo with a few highlights/ darklights with prussian blue.  I do enjoy monochrome painting as it really forces me to focus on value and composition - errors in which can sometimes be masked with the use color.  There's still work to do on the composition.

I've also been struck by the varied surface of ice on the river.  Some areas windswept reflecting light like a mirror - others still snow covered. The patterns of darker and lighter cracks in the ice definately lean to the abstract

One of the most common misperceptions about watercolor is that once you touch paint to paper, you cannot undo anything.  I've not found that to be the case - with very few exceptions.   You do have to plan your darkest darks and lightest lights out first but beyond that, I've found watercolor to be very flexible and suited to a wide variety of techniques.  Find your own way.  You certainly can learn from others but be confident and experiment - you will develop a style and method that is all your own.