This time I used the camera on my phone. I think I prefer the result. The colours seem more faithfully represented, or so I think
I have stopped working on this painting as I just don’t feel I can add any more. The ferry boat in the centre I have painted as sharply as I can, but as always when the paint has dried then some of the intensity goes with it. Sometimes that can be a good thing but on this occasion I would have liked the boat to be coming towards the viewer just a little more. I even finished off the waterline with dark pastel which has helped
Possibly I put too much definition into the background, but then I needed deep shadow to accentuate bright daylight. As always a slight dilemma. Maybe next time I will paint the foreground first and work backwards.
However I have another painting towards the next exhibition in April, and will soon have to think about my annual update of my own website davidharmerwatercolour.co.uk. Looking back over the year, a number of sales, certainly a quantity of amendments together with a collection of new work which always attracts attention.
Last year was very good for commissions, six in total, which for some artists I know would be unimpressive, but for me exceptional. We’ll see what 2019 brings!
This is very much work in progress. I have got as far as putting in the shadows with a mix of Cobalt and Phthalo Blue, the mix I like using in any scene that is southern European or nearby
I have done the sky in the same, and the sea also but over an orange wash which gives it a greenish hue, and as always I hope this works. I have put some more orange here and there into some of the buildings as highlights as the shoreline was getting monotonous. There will be some more shadows yet going in to the buildings and also the boats that are still tied up
The boat mid channel I hope to do in much more detail, as much as my shaky hand will allow, and I want to introduce some red into this boat to bring it forward from the shore. That is the theory anyway.
Annoyingly the camera has picked up the texture of the paper so that it looks as though I am painting on onion skin. I seem to get a better result with the camera on my phone these days so might use that for the finished image.
Since this photograph was taken I have done some more work on the painting. Nothing startling, just deepening the shadows, and deepening the sea colour in the foreground. The shoreline is starting to take on a cubist look, unintentionally but interesting nonetheless.
This one I quite like,as a reference, not my own but similar to the ones that I took of boats crossing the Bosphorus. I won’t be copying it as such but using the content for inspiration.
I think I will attempt to change the lighting. I have several Bosphorus shots of my own to refer back to, so will experiment a little and see what I end up with. The construction will remain much the same, as the composition would be difficult to improve on
It has all the ingredients, the mosque, the ferries and the water. No mistaking where it is. This is rather a dark shot, evening time and dramatic, quite a clever photograph, and all credits go to the photographer, if only I knew who it was
For the moment, I am just doing some free-hand sketches, and may just include those at the end of this blog. Those minarets are proving something of a problem to pin down. One minute they are leaning too far to the left, and when I correct that, too far to the right. The mosque building itself is a delightful exercise in geometry though, which may be forgiving because of the distance. I had the same problem when I painted the Blue Mosque which is in the archive somewhere
Both Istanbul paintings sold from my Artfinder site which was gratifying especially as I don’t have much success on that site, hence I need another Istanbul painting for my next exhibition which is in April, which will come round fast enough
The Fountain of Love commission was very well received, I am happy to report