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From Tim Wootton's Studio (3 Viewers)

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Getting really pee-d off with this one now- I don't like the blue/turquoise backdrop of the sea so I'll change it to a more muted hue.
Better finish it before the kids get home or I'm shelving it . . .
 

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timwootton said:
Getting really pee-d off with this one now- I don't like the blue/turquoise backdrop of the sea so I'll change it to a more muted hue.
Better finish it before the kids get home or I'm shelving it . . .
Its looking good any bristles left on the brush cant wait to see the shade of the sea you pick
 
Seal End

Over a few periods today, completed the seal pic. The penultimate image was almost there, but i realised once I had increased the breaking wave, there would be loads more surf around so I added more flecks and streaks which, I hope, completes the effect (?). I'm still not absolutely convinced it's where I wanted to go with this piece, but I've had enough now . ..
 

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I'm glad to hear that you get as p***ed off about your pictures as I do! Even if it's annoying for you, it's a relief to me, is anybody ever happy with their own pictures, I always look for faults in my own, I think I do it on purpose.

I like the end result of this one, don't look at it for a week then see if you're still unsure about it. I love the oystercatchers in particular for the perfectly captured stance, and the expression on the seals. What I don't like is the fact I really miss seals and oystercatchers, but then I suppose you don't see any marsh tits up on Orkney.

Here's the progress, field sketch, composition sketch and a detail of the bird drawn out, would be painting it tonight but prefer going for a beer instead!
 

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I think we all get peeved with our paintings from time to time. I've only ever painted one picture which I have been totally happy with (almost), which is why it's still on my wall. I've got a cupboard full of half finished paintings where I've just lost faith in them half way through and haven't been able to conquer the 'pain barrier'.

Push on Tim and don't be so hard on yourself, the seals pic is lovely and, like Nick, I wish I'd been responsible for it. Right now by the way I'm wishing I could paint like you do, all confidence and bold brushstrokes! I may just have to experiment over the weekend.

Woody
 
Woody said:
I think we all get peeved with our paintings from time to time. I've only ever painted one picture which I have been totally happy with (almost), which is why it's still on my wall. I've got a cupboard full of half finished paintings where I've just lost faith in them half way through and haven't been able to conquer the 'pain barrier'.

Push on Tim and don't be so hard on yourself, the seals pic is lovely and, like Nick, I wish I'd been responsible for it. Right now by the way I'm wishing I could paint like you do, all confidence and bold brushstrokes! I may just have to experiment over the weekend.

Woody

Hello there- saw a light on and thought I would drop in. I'm with woody- nothing beats paint whapped on in confident and bold brushstrokes by one of the few who can do these things.

I thought I would share one of my current nagging little problems (not the blunt chainsaw or Arsenal's lack of a fox in the box this time)- not even a work in progress yet. My local patch which I visit for 10 mins on the way to the Saturday farmers market.. without any help from me it is an absolute design masterpiece with gulls and then shelducks all leading the eye to 50 Goldeneye under a blue jetty and a Thames barge (Goldeneye flock marked with a red arrow). But how to make a painting that shows the Goldeneye, but also gives the big picture composition? My current thoughts are either to warp the perspective and do a Michael Warren style vertical format effort- or do something very simple - almost a linocut built around a blue rectangle - or of course just paint it on a big canvas so you can see the Goldeneye.

Still musing, but something has to be done...
 

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Difficult to decide Ed, you've got the sort of scene that I find very exciting to paint. If I were to paint this, I'd be focussing on the shelducks, putting the goldeneye in the middle ground. In my head this "warps" the perspective enough to get everything in without looking too contrived. Sketch out several possibilities first and experiment, and of course, keep us posted on the progress.
 
nickderry said:
Difficult to decide Ed, you've got the sort of scene that I find very exciting to paint. If I were to paint this, I'd be focussing on the shelducks, putting the goldeneye in the middle ground. In my head this "warps" the perspective enough to get everything in without looking too contrived. Sketch out several possibilities first and experiment, and of course, keep us posted on the progress.

Woken up early by the dogs this morning...so over frothy coffee while the house was quiet I had a chance to try it as a sort of digi-collage of simple shapes
 

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I had a look at this last night, Ed - I think it's a brave move to approach these subjects, but could work in a very interesting way. I'm more 'naturalistic' in approach, but I had the thought that a really elevated view looking down from about 35 degrees may give you the options of perspective which you require - just a thought. (If you look at the illustration in 'Bird Island - L.J - of his areal view of the 'spit of sand' - maybe there;s something in that?)
 
timwootton said:
I had a look at this last night, Ed - I think it's a brave move to approach these subjects, but could work in a very interesting way. I'm more 'naturalistic' in approach, but I had the thought that a really elevated view looking down from about 35 degrees may give you the options of perspective which you require - just a thought. (If you look at the illustration in 'Bird Island - L.J - of his areal view of the 'spit of sand' - maybe there;s something in that?)

That is an interesting thought- I know the one you mean straightaway- the the last page of the LJ book, with a gull over it, right? Funnily (sadly) enough, the tall maltings at Mistley have been converted into yuppy loft apartments and so the view from their balconies of my scene would be exactly that angle. So I need to wangle an invitation up to the third floor..
 
ed keeble said:
That is an interesting thought- I know the one you mean straightaway- the the last page of the LJ book, with a gull over it, right? Funnily (sadly) enough, the tall maltings at Mistley have been converted into yuppy loft apartments and so the view from their balconies of my scene would be exactly that angle. So I need to wangle an invitation up to the third floor..


Or disguise yourself as a phone company technician Ed! Mission Impossible meets Watercolour Challenge...;)
 
hi Arthur - Been busy doing 'other' things recently. artwise - the first thing I have to do is get the seals right - I am far from happy with the sea (I think it'll have to go grey, not blue). The avocet is still brooding, but getting closer!
 
A bit better . . .

As I think I mat have mentioned, I was never totally happy with the seal piece. I've gone back to it (following Nick's advice - although a week would have been far too long for me as I'd have lost all interest in the piece) and taken all the intense blues away - I went for a more 'grey/green hue as on a day with low, light cloud - allowing light to filter through, but taking a lot of colour out of the landscape (you know the sort I mean) - and allowed the sea to wash white foam onto the muddy sand. I took the device of the breaking wave away from the picture because I felt it was just too cliched (not wrong, just not right!?) and it also created too much action in what is, essentially, a serene scene. I'm much more at ease with the overall balance of the piece now - so I'm finishing it with a Vod&Ton.
Anyone care to join me?
Cheers.
 

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I liked the previous version a lot, and this one I like a lot, lot more, it's moodier. Enjoy the vod and ton!
 
This works so much better, call me a hypocite Tim, as I mentioned I liked the breaking wave. However, the new tone puts the emphasis squarely back on the seals and strangely seems to make the foreground oystercatchers more dynamic...
Would love to stay for a swift half but have just got back from work and the weather forecast for tomorrow dictates I should haul my ass out of bed early in the morning and get out there for the day! Early passage migrants coming in, such as Skylarks, Stock Doves and if I am lucky Woodlark could be on the cards...
Have been thinking a large sheet of card and loose black indian ink piece for the Heron piece might have the sulky effect I want. Will sleep on it for now...
Night, Night!
 
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Tuesday 13th March - first day of the Cheltenham Festival.
My tip of the day - Detroit City - Champion Hurdle at 3:15 - fill yer boots!!
Cheers.
 
timwootton said:
Tuesday 13th March - first day of the Cheltenham Festival.
My tip of the day - Detroit City - Champion Hurdle at 3:15 - fill yer boots!!
Cheers.

I just wandered past the studio expecting to hear whooping and cheering, but it all seems very quiet.
 
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