Biting the paper III

I’ve more or less said all I wanted to say on this already.

This is the beck that winds its way down to feed the fall into Hull Pot.

I created this version at home, working into the original with knife and hard eraser.

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The wall with the hole from which poured the water was there but was more behind my left shoulder.  Putting it into view is, what is termed, license …

As for the original, I propped myself against that wall, my feet in snow, and painted in a gap between drizzle and sleet.

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16 responses to “Biting the paper III

    • Thanks. The credit for the palette choice goes to Darren Woodhead – linked on one of these posts. He taught on a course I attended and I nicked his ideas but added the phthalo blue. I needed to simplify my choice of colours to make an outdoor kit. For now at least all my paintings use this simple set as a way to help me develop my skills.

    • Thank you. I really appreciate your comments. This is the last of the Yorkshire sketches from a few weeks ago. It was only a couple of days of field sketching but as I revisited and worked into the pieces, I felt I had learned something. Looking at the painting as a whole allowed me to use the sky and background to recalibrate the foreground.

  1. I do really like the version you finished at home but my eye keeps being drawn to the one you did first. There is something rather wonderful about the immediacy of it. I think it is because I can see you leaning up against the wall and with your feet in the snow, just out of our sight.

  2. An interesting three posts covering the development of this final watercolour from location to back home. Each post had good work and I am impressed with the final version, as my own attempts at watercolour, a long time ago, were fairly awful. I am much better at sketching with pencils, but don’t do that very often. I enjoy look at art more than creating it.

    • Thanks. To be truthful though you have nailed the point of the post. I suddenly got that the watercolours don’t have to be right first time, i can go back and work into them, combining studio and field. I don’t have to be a painting genius to make it work, or at least be good enough for me to be happy.

  3. Pingback: Biting the paper IV: sylvan idyll. | kestrelart

  4. Pingback: Tone drawings II: guillemots | kestrelart

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