on Monhegan Island, Maine on July 24, 2023, 11" x 14" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lbs. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.
$650, SOLD
Exhibited at the Art Guild of the Kennebunks Awards Show, August 18-20, 2023, Community House, Kennebunkport, Maine where it sold.
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How I Painted This
I paint with transparent watercolors, so I paint light to dark, layering colors over each other. So, I start with white, the white of the paper, the only white available with transparent watercolors. Note: I often sketch with ink, going bold; you can't erase this like you can with graphite.
I lay down yellows where I'll end up with green.
By layering various blues, light to dark, Cobalt Green, Prussian Blue, and Payne's Grey Blue, over the yellows, usually letting each layer dry, but sometimes mixing wet on wet on the paper. I don't do much mixing on my palette, rather on the paper.
More blues and then other colors.
Here comes the line of rocks offshore, once again light to dark. I paint with flat brushes. And I use the biggest brush possible. For this painting I used a 2" flat and a 1" flat.
Ah, adding the bright accents, to make it all come together, always keeping in mind the lone spruce and its shadow. Purples help pop that.
I don't try to paint an actual representation of the subject, a camera can record that. My previous career was pure photography, been there, done that. My watercolor painting is an interpretation of the subject. And in the words of my then ten-year old Grandson Teague when painting a watercolor with me: "Grampa Bruce, it's a painting. You can do anything."
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