second try

A Man of 'Feeling' The emphasis in the demonstration which began the class, was on 'feeling'. He talked about 'painting from memory'. Look at your image for as long as you need, several days maybe, then let it go. If you are using a camera , look then' hold the concept', record what you feel. Before using the camera always consider the element of 'feeling' over 'copying' the detail. "sometimes" he said "you paint and you know there is a problem, but you cannot resolve it, even possibly taking years.....but maybe that is the attraction" Some points

• begin with black and white then add colour
• use a lot of medium to begin with dark
• lightbrush strokes over the black
• water more transparent in the foreground, less reflection
• scrape paint when it is too wet or dark
• dust on the horizon makes it more green
• many different colours in the sky, warmer in the afternoon
• soften the edges of the clouds
• mix on the canvas rather than the palette- easier to see if you need to warm or cool it
• minimal palette
• contrast soft and sharp edges
• keep flexibility between realism and abstraction

It all seemed so easy when he did it, making all our paintings come alive as he worked owith us on our own work. A Man of 'Feeling' The emphasis in the demonstration which began the class, was on 'feeling'. He talked about 'painting from memory'. Look at your image for as long as you need, several days maybe, then let it go. If you are using a camera , look then' hold the concept', record what you feel. Before using the camera always consider the element of 'feeling' over 'copying' the detail. "sometimes" he said "you paint and you know there is a problem, but you cannot resolve it, even possibly taking years.....but maybe that is the attraction" Some points