Cape Ann paintings and a lesson learned

On my first morning in Rockport, I rushed down to the harbour to paint. I have a favourite bench in a shady spot, a little bit away from the pedestrian traffic of Bearskin Neck. It’s fitting that my first painting in the town this year was of the visitor’s centre across the water. That was where I did my first boat sketch of Rockport all those years ago, and where my love of Cape Ann began.

It was a misty day when I painted this one, but the lack of light and shadow is offset by the multitude of shapes in the harbour. I can always find something to paint in Rockport.

I also spent a very hot morning painting at Halibut Point State Park, again in a shady spot across from a visitor’s centre. I love the description of the park on the Mass.gov link: a granite edge between the Atlantic Ocean and the mainland. It’s those granite edges of the former quarry that make painting there such a challenge, especially on a calm day when the rock reflects in the reservoir. Truly a place of quiet beauty when sometimes the only sound is of flapping gull wings in the still water.

I also returned to one of my favourite Gloucester painting spots: the view of Low Tide Yacht Club on Rocky Neck. Again, a favourite bench, a misty morning, the tide coming in, and no lack of shapes to paint. This one comes with a near-disaster and lesson learned: don’t take the tape off the painting until you are indoors. As you can imagine, that is not what I did. I won’t get into all the details, but the short story is that the tape came off, the wind grabbed the painting which was only lightly clipped to the plexi board, the painting landed upside down about an inch from the incoming tide and I managed to rescue it from floated away before the next gust of wind came along. This also included a fair bit of shrieking and scrambling down rocks. A story with a good ending but as I mentioned: a lesson learned.


Pigeon Cove and some new paper

Each time I go to Cape Ann, I return to my favourite painting spots. I don’t always have time to sketch but I take lots of photos so that I can continue painting when I get home. This time, besides returning to Pigeon Cove, I also returned home with some new paper: a block of Millford watercolour paper from St. Cuthberts Mill.

I’ve been reading about this paper and seen a few people using it online. One of my favourite watercolour sheets is Saunders Waterford paper, and this one is from the same mill. What makes it a little different from their other papers is that it is hard-sized, meaning it is made to stay wet for longer. It’s a block of paper so I couldn’t wet the paper on both sides but it seems to perform as advertised: both the initial sky wash and the first glaze on the foreground rocks stayed moist and glistening for a longer time than I am used to. This test was done in the controlled environment of my studio. It will be interesting to take it outside where wind and heat usually dry the paper too quickly.


Motif #1 and #2

Go ahead and type “Motif #1 painting” in your search engine. You’ll find hundreds of paintings and sketches of this iconic red Rockport fishing shack. I’ve painted it many times myself, from different viewpoints. Last week, during my warm-up sketching days before my workshops at Slow River Studio in Topsfield, I sketched it from the left side — an angle that was new to me. I drew first with my Lamy pen that’s filled with water-soluble copper ink and then added some light washes on top. This ink dissolves almost completely into the watercolour but if you’re painting a red building, it sort of works in your favour by melting into the red/brown washes.

Later in the week, it was also the subject of one of my workshop demos, although this time we sketched it from the front. If you are sitting on the end of the town wharf, the morning light on the building is ideal. As for what red to choose for this, I used a combination of Alizarin Crimson and Burnt Sienna, adding a little Violet to the mix for the shadows. The actual paint on the building is a flat reddish brown, more like Indian Red, but I don’t have that on my palette (too opaque!) so this was my solution.