The mysterious Lovric’sPosted: February 4, 2015
Last summer when I was in Anacortes, Washington, I often passed a sign on the road for Lovric’s Sea-Craft, Shipyard and Marina. From the elevated road it’s hard to see the marina itself because it’s down a steep slope and obscured by trees. But the bits I saw were intriguing — a tangle of boats, big and small, as well as a massive structure that seemed to be a shipwreck covered in trees. One evening when I had a bit of time I parked nearby and went down to investigate. Turns out the shipwreck is an old schooner that’s been turned into a breakwater, but what I found incredibly beautiful was the end-of-day light on the other boats. I finally have a bit of time to work on a painting of the mysterious Lovric’s.
The planning stage of a painting is always the most exciting part of the process for me. When I have the time I like figuring out the values and the colours in advance so that when I get to the bigger painting, the direction has been set. I started with a small pencil value sketch where I blocked in the lights, darks and mid tones. What’s unusual for me in this particular sketch is that the lightest areas are the sky and the water instead of the boats themselves.
The second part of the process is often to go straight to a bigger painting, but for this one I want to be sure that I get the colours right. The boats are all in cool shadow but the setting sun is warming up the buildings in the distance, so the play between warm and cool is important. The colour sketch isn’t much bigger than the value sketch — it’s about 8″ x 10″ — and it isn’t very detailed, but I hope it will be my roadmap for a bigger painting sometime soon.
I also want to add a clarification to my post from yesterday about Arches paper. My disappointment with my sketchbook paper was only with the stock in the book. I use single sheets of cold-pressed 140 lb. Arches, both Natural White and Bright White, and it’s a very high quality paper. No complaints about that!