This took me about three weeks, working on it every now and then. I have come to prefer working that way, doing a little and then letting it dry right out, looking at it in different lights and revising my plan as I go along. All this wet weather has meant that even during the day, the natural light has been poor. Flat light is fine but all these dark skies have not been helpful.
I don’t think that I have included the original photograph, so I will do that at the very end. Apologies for that. I have kept to the photograph as much as possible, certainly for the boat which is what it is really all about.
The main difference is that I have removed completely the row of houses at the back, which cluttered the scene and made the composition very gloomy. Now we can see the evening light catching the stern ends of the boats and reflecting on the water. This was useful, too, introducing a little orange into what has become a very blue painting.
Also the masts and sails now stand out against the sky whereas in the photograph they are lost amongst the buildings.
Never before attempted a boat portrait, so I am pleased with the way it turned out, whether I should be or not. The client likewise pleased which is the main thing. I will end with the original photograph, and any different ideas on how to tackle this one would be gratefully received.
This is the image that I should have started with, so hopefully still makes sense
This is the drawing so far of the boat I was commissioned to paint. Rather faint I am afraid, not only because it’s in pencil but also because she has had a wash of phthalo blue and cobalt mix. Some orange and vermillion went in to the tops of the boats to give that evening sun look, but that will need strengthening
I have already sketched this scene just to realise the composition and to get that agreed. This is the real thing. Just a tad apprehensive, as although I have painted boats enough times, this would be the first boat portrait that I have tackled.
So much of the boat is white, and not even many shadows to relieve the situation. The vessel is beautiful, streamlined and highly polished, in fact all the things that don’t work so well in watercolour. A rough-textured old steamer, dirty and rusty, with plenty of smoke really lets the watercolourist’s imagination run riot.
But we don’t have that. We have a sleek yacht instead. In the background of the reference photograph which I haven’t published here, are a row of houses, which were not only superfluous, but actually crowded the composition, and didn’t look good against the boats. I have left them out altogether, and I have not regretted doing so. The depth of the painting has increased whilst still preserving the look of a marina
So for the moment I shall just carry on building up the colours on the items that matter. The yacht centre stage of course is the star attraction and needs to come forward