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Messing About with Paint
  -  Messing About with Paint (Page 4)

Oil on Canvas 76cmx102cm I used a limited ‘Zorn’ palette of Burnt Sienna (Red earth colour) and Raw Sienne (yellow earth colour), with Ultramarine Blue. Fun to use because you have to focus on the value structure and the warm/cool dimension. You also watch your edges more. This really makes you pin down the structure of what you are representing and the light.

An abstract work of the sea looking down from the cliffs of East Head. Done as a study for a larger canvas I have. Not sure I will be able to replicate it given that I have no idea what I was doing. Indian yellow, with Turquoise Blue, Phthalo Green and Cobalt Teal rubbed into each other. A spot of Transparent Gold Ochre and Primary

Oil on Canvas 60cmx90cm Yellow cotton balls of colour on thin read stems caught my attention on the turnoff to Springer Bay. With the summer heat, the fynbos has changed. From the rainy season greens to grey renosterveld, sprinkled with a gazillion blue flowers like Christmas lights. Against the sky, a small farm house dwarfed by the tree protecting it from the afternoon sun. Thrilled with the

Oil on Canvas 78cmx102cm A couple sitting at the Heads. I wanted capture the joy of the moment. Bodies coiled with mirth.  A bit of a fight as I wasn't getting the figures to 'jump' from the composition. Instead, they were fading into the background.  One of those days when the tonal aspects weren’t working for me.  Their small size also giving me problems. Detail   

Oil on Canvas 90cmx60cm Available for Sale $1,800.00 The view today from the studio out towards Phantom Pass. Although, today the view is obscured with the rain sheeting down. It reminds me of the Italian lakes, with the green forests and reflections of the building beyond the railway bridge. Kept the composition low to give room for the sky. However, this did restrict space of the reflections, which

Ernest, Honourable Mention Winner at LICC 2015    Submission The composition of my portrait of Ernest wasn't sitting correctly on the canvas. He felt either overawed by the space around him, or caught in headlight dazzle. I used the 'Fibonacci Sequence' to determine the golden points and cropped the portrait so his eye was centered on one of them. I then tilted the composition by 5 degrees