This is based on No. 169 from 2011. I had painted that one in Seaside while we were there and always really liked the feel of it. After doing a few of the Egan’s Creek ones I realized I could go back to any of the ones I’ve done to revisit them and try to learn more.
I can still remember walking around the corner and seeing this guy in the light. The back corner of Seaside is really quiet and it was just me and the gazebo that morning. Fun to go back and revisit it.
Last one of the beach/Seaside paintings here. I think I did 21 in total which is hard to believe. We were only really there for five days so that was a lot of source material. The pace and the consistent subject were wearing me down here and it’s pretty weak. Still a good exercise to try and do one that is more loose.
This is actually the same image that is in 177. I cropped in on the little rental shop and took out all the buildings at the top of the dune. Same deal here as 184 – trying to shape a physical object and get the paint to reflect the different planes of space.
No. 184 is a painting of the Sundog Book store in Seaside. I am playing catch-up with these posts so I’l keep it short. Really trying to form the building out of color and give it weight without using back and white.
This one was interesting. I had painted it using Burnt Umber and then laid the first bit of color down but was not happy. The colors were too primary, it was muddy – just not good. But I decided to let it dry and then go back into it. With No. 182 I had done a similar thing and added back more Yellow Ocher to pull it more into a neutral range and not have such a hot yellow tone to it. It’s not perfect but it’s a lot better than it was and it felt good to move the colors from one space to another.
Painting scenes like this are like walking on a tightrope for me right now. I dive in, turn off my brain, push paint all over the place and pray it works out.
It’s like someone who has no idea how to dance that pounds a few Jägers and then cuts loose. I don’t like that.
I want more control and command over this. I am painting these in Burnt Umber and I love the way they start. It’s the color that completely throws me off. I don’t know how to process it all.
Most of the time I am satisfied with the result but am completely frustrated by the path that takes me there. Oh well. This is where that “doing it again and again and again” thing pays off. After I get through all these I need to come back and hit it until I understand it.
This ended up being as tricky to paint as I thought it would be. The sky was so brilliant that it’s almost impossible to really paint. It was a busy weekend and I have about seven other paintings in the works and should be back on track over the next few days.
If you walk down Seaside Ave. towards the main square you’ll see this. I thought it was weird how the two palms were in shadow and the third one was lit. A building on the left is casting the shadow and gave it a strange coloring. As I was about done with this one I remembered how great Edward Hopper’s windows are. It was too late to really fix these but I’m going to focus on the windows for new ones.
No. 177 features one of the pavilions at Seaside, FL. I was a little worried about this one because there was so much detail in the houses behind the pavilion but I just painted what I saw when I squinted.
No. 174 is a painting of the chapel at Seaside. It faces pretty much due east so you get some nice light early in the morning. Overall I was really happy with how this one came together and it felt much more natural vs. No. 102 from much earlier in the year.