Before the Storm - Digital Seascape

Following last weekend's seascape workshop, I had a taste for painting the sea, something I haven't done for a while.

Yesterday I grabbed my camera and headed to The Gap in Albany's Torndirrup National Park. This is a wild area where huge swells can appear without notice, even on the calmest of days. Yesterday was no such day.

As I drove down the road to the car park, I saw white water spouting up well above the rocks that top the gap. I'd never seen the water spray this high here before. I could also see towers of white water out to sea.

It was rough!

I wandered over the rocks from The Gap to The Natural Bridge and down toward the bay that lies to the west. The sea was white with foam, the air was wet with salt spray and the wind was whipping straight up the sloping rocks where I was standing taking photos. There was so much going on, and the waves were so much bigger than I've seen them here before, I didn't know what to take photos of... so I took photos of everything... lots of them.

I was wearing my sunglasses, not because it was bright - it was actually overcast - but to keep the salt out of my eyes. The scene was exciting but very grey, until I lifted my "sunnies". With bare eyes, there was a warm glow about everything except the deep water. The cloud cover was thin so the sun was having some effect.

Today I rummaged through the pics and borrowed bits from this one and that one to try and assemble a scene that conveys the feeling I experienced. From this, I did a digital painting in Photoshop...

(Before the storm. 2000x1057px digital. © Andy Dolphin)

I titled it "Before the storm" because there was a severe weather warning for later in the evening.

The painting is heavily influenced by the late E. John Robinson's famous seascapes. It's a style I've admired for years and I have his book "Paint the sea in oils using special effects" and two of his videos on the subject. His approach is sensible and straightforward. It makes a difficult subject much easier than it could otherwise be.

I hope to repaint this one in oils this weekend. I'll let you know how I go.

May Workshop

I did my second workshop for Gallery 500 in Albany yesterday morning. It was nice to see some familiar faces from my landscape painting workshop, along with some new faces.

The subject this time was "Seascape" and I took the students through my approach to waves, flat water, rocks, sand, wet sand and, of course, sunlight and atmosphere.

My reference for the morning was a painting I did in preparation last weekend...

There's quite a bit happening in this small (25x35cm - 10x14") painting which took around four hours to finish. I wasn't expecting this same level of detail in a workshop setting where we only had four hours for explanation, demonstration and following along. Time got tight near the end as we were all adding those last bits of sunlight and detail. Even so, the results from the group were amazing.

Here's my demonstration painting from yesterday's workshop so you can play "spot the difference" with my reference painting...

In reality, this probably represents about one to one and a half hours actual painting time.

I didn't have my camera with me but I hope to post some photos of everyone hard at work when I can.

Thanks again to Brad and Jo of Gallery 500 for inviting me and to everyone who attended.

UPDATE:

Photos of some of the gang hard at work. Thanks to Ros for sending these to me.

Practical 3D Art...

...with a difference.

For years I've had a fascination with the rustic features of farms - from rusty sheds to old vehicles to meandering fence lines. Many of these things have featured in my paintings.

This weekend begins an "artform" of a different kind for me. I got hold of some old fence posts from a farm in Kendenup and will be constructing a rustic fence from them in our back yard. Then, when I sit out on the deck, I'll be able to watch the wrens and robins flitting about the aged, lichen-covered timbers.

Here's most of the posts I purchased. They don't look like much in this arrangement but they have far more character than the treated pine or steel posts (star pickets) that are becoming commonplace these days.

Here's a close-up some of the lichen that attracted my interest. This is the top of a strainer post, already notched ready to accept a top rail.

And here's the first post in position. This is a corner post, it's about 30cm (1ft) in diameter and there's as much below ground as there is above ground. It's about 2.1-2.4m (7-8ft) long in total. I'm only 1.6m (5'3") tall so this post, as seen, comes to almost-shoulder height on me.

This is the biggest of all the posts - it weighs "a ton" and was a killer to move around on my own with nothing but a small sack trolley and some rope. It was an exercise in logistics, or insanity, to get it into the hole. I hadn't anticipated the enormity of strainers and corner posts when I dreamt up this idea - I'd only thought about normal fence posts.

This new-old fence will replace the existing one that keeps our pet sheep out of the back yard, so it's practical, it's three-dimensional and, to me, it's art! I'm not sure my back and shoulders will agree with me tomorrow - they're already complaining.

Dreamt up

Just a little something that came into my head this morning.

(Verge flower. 1000x1000px digital. © Andy Dolphin)

This was painted from my mind, without reference, in Photoshop.

"Hotch" & "Gideon" caricatures

I'm still without a studio to paint in, so here's another digital caricature sketch to add to the list. This time it's actor Thomas Gibson, best known as Aaron "Hotch" Hotchner, from TV's Criminal Minds. He used to be best known as Greg from Dharma & Greg, though his expression is quite different in his current role.

(Thomas "Hotch" Gibson caricature - digital. 636x854px. © 2010, Andy Dolphin)

I'm still coming to grips with the caricaturing process - some seem to work while others don't - and while it might seem to be totally unrelated to landscape painting, it is in fact great training for the eye. Tom Richmond's blog has some brilliant tutorials for the budding caricaturist.

 UPDATE:

And here's one of Mandy Patinkin who plays Agent Jason Gideon in Criminal Minds. I actually started this one first.

(Mandy "Gideon" Patinkin caricature - digital. 620x796px. © 2010, Andy Dolphin)

"Unsub, unsub!" ;)

A little art history

We're currently undergoing renovations at home, and I'll hopefully end up with a dedicated studio space when it's all done, but it is slowing me down a bit. Today I painted a lot, but it consisted of two coats of paint on a 40 square metre ceiling. Unfortunately I'm getting no opportunities to go out and paint landscapes.

Earlier this week I was going through some old artwork I'd uncovered so I thought I'd share that, just to keep my "weekly" blog moving.

The first of these dates back to the mid-eighties when I was a signwriter. With my background in airbrush art, I was often given jobs that involved detailed or lifelike illustrations. This beer bottle was painted in lacquer on white acrylic sheet (perspex). It was one of four that I painted side-by-side and stands around 1.2m (4ft) high.

Acrylic sheet comes with an adhesive protective sheet which peels off easily. I used this for a lot of the masking work. All paint was applied with spray guns and airbrush.

The second one comes from the early nineties, after I'd jumped ship into the world of advertising and commercial illustration.

I did a series of concept paintings for Austal Ships in Western Australia. This was in the days when computer graphics were still incredibly expensive, so illustration made sense. I worked from preliminary plans to produce the 3D image and once this was approved by the designers, I'd draw it up about 50-60cm wide, transfer a faint image to illustration board, mask it with "frisk" film then break out the inks and airbrush ready to colour it.

This one uses a photo of the ocean as a base. The boat was airbrushed on the illustration board then it was cut out and the surface layer of the board peeled off (I always hated that part). This cut-out was stuck on the photo with double-sided tape and was then photographed and printed. This print was retouched before being sent off to a commercial printer for reproductions.

I loved these concept-art jobs but I know so much more about light and shadow these days that I would do them very differently if I had to do them all again.

The next one, probably from the early-mid nineties, is perhaps my first real painting done for no reason other than the fact I wanted to do it. Prior to this, almost all the art I'd produced as an adult had a commercial purpose.

One day I walked past a travel agency and saw a brochure with a man skiing on the cover. For whatever reason, possibly insanity, I immediately imagined the man as a kangaroo. I grabbed a copy of the brochure and some others for extra reference and soon went to work with tube acrylics and gouache on a canvas board.

I didn't really know what I was doing but I was having fun at least. I think I painted that roo hair-for-hair!

May Workshop

After a very successful oil painting workshop in March, Gallery 500 have invited me to do another workshop in May.

Workshops run for around four hours on a Saturday morning and students paint along with me as I break down my process of painting sunlight into easily managed stages.

The techniques demonstrated suit either plein air or studio painting. While I paint in oils, the approach works equally well for acrylics.

If you're interested in attending, contact Brad at Gallery 500 in Albany, WA.