Laguna, the beach, pointillism: larger paper: part 3

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Laguna, beach, watercolour on paper, A2 NOT FOR SALE

Laguna, beach- detail

Laguna, beach- detail

These cartridge  papers can take" overlapping" washes or  watercolour brush marks of up to about three layers before the surface becomes too dense and lifeless. 

The pointillist method uses very minimal overlapping and the picture retains freshness.

 Working in such a methodical manner is very relaxing.

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Laguna, from the pier, watercolours on larger papers: part 2

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Laguna, from the pier, watercolour, A2

Laguna, from the pier - detail

Laguna, from the pier - detail

The light in Winter in Laguna is marvellously sharp.

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Laguna, sun, sand, watercolours on larger papers: part 1

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Laguna, sun, sand, Watercolour on paper, A2

Laguna, sun, sand, Watercolour on paper, A2

I continue to work on A2 size paper- this is immensely satisfactory and I kick myself for not having embarked on this path earlier.  The gestural freedom is very enjoyable.

The paper I use here is Canson, 180 gsm, (pretty much a cartridge) and it isn't so expensive that I feel inhibited. It doesn't warp, as I'd feared it might.

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Laguna, beach view

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Laguna, beach view, watercolour on paper, A3

Laguna, beach view - detail

Laguna, beach view - detail

This is probably the best from my recent Laguna trip. I will see how I feel about the others.

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A little drive south: Laguna; attempting to work much more quickly

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Laguna 

 

 

 

Sun, Laguna, oil on card, 20.7 x 24 cm - unavailable

 

 

 

 

Laguna, July 2022, oil on card, 28 x 25.5 cm SOLD

 

 

Laguna, July 2022 - detail

 

 

Laguna was beautiful, empty of tourists and full of silent charm. The way the town perches between lake and sea and hills is wonderful.

I will certainly return.

 

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Attempting to work much more quickly

 

My logic is this: that the paintings are "worked out" within the first fifteen minurtes, after which there is a period essentially of filling in which takes up to thirty minutes. 

From experience, I can say that almost nothing I do after these forty-five minutes will make much difference- except perhaps to weary the picture by overworking it. That means the colours becoming increasingly grey or brown or just dirty, and brushstrokes losing their sharpness as marks are "corrected".

 In addition, the longer I work the greater the possibility that the scene will change, usually because of the sun moving.

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A little drive south

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A little drive south

 

 

The way to Urussanga: a three hour drive

 

All being well, on Monday I go down to Laguna, a charming town with nice old buildings, and then on to Urussanga. I suppose I spend four nights away. I'm going to book hotels on the way.

 I now have a little laptop, and the idea is that I continue teaching as necessary online and get to go painting in new places.  I haven't done this before though I should have. 

 

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Painting has been quite difficult lately, I think partly because of overfamiliarity with certain motifs. You get dulled by ease and familiarity.

Hence, travel.

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Valparaiso, Chile

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 Valparaiso, Cerro Bellavista, oil on card, 11 / 9 cm  SOLD

A smallish town, a port, dirty but striking with good old architecture and fine views from the hills above: in short a good painting city.

I spent most of my time in the lower commercial areas of the city and painting some of the many, impressive stucco 19th century very brightly coloured. There are many pleasant squares, though everything is in need of renovation and the whole reminds me very much of decaying Brazilian port towns that I've been to such as Pelotas or Laguna. The port area is very much Tom Waits territory, like so many ports, that air of dilapidation, which at times is very beguiling, at others merely squalid.

 Valparaiso, waterfront, oil on card, 14.5 / 10.5 cm  - available

Of Whistler I see just a little sign:

 Valpariaso, the British Arch, oil on card., 14.5 / 11cm  - available

I didn't work as large as I'd anticipated. For travel the intensity of that postcard size is quite ideal.

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