Ti­mothy Hall

Bri­tish Columbia, Canada, Pet­tinger Point, oil, 28 x 40" (71 x 102 cm)

International Artist - - Art Challenge -

My In­spi­ra­tion

As a young man I was drawn to the moun­tains; now at 73, I am drawn to the sea. Near Tofino, Bri­tish Columbia, the ocean beck­ons with its soft sea air and sea mists, where the land meets sea. Although the av­er­age an­nual rain­fall is 127 inches, we al­ways strike sun­shine or sunny breaks.

I find the play of sun on sea, sand, rocks and rain­for­est to be an end­less vis­ual de­light. We have been in all sea­sons with the win­ter storms and fe­ro­cious seas ex­hil­a­rat­ing. Pet­tinger Point as seen through the mist, is named af­ter the founder of the Pa­cific Sands Re­sort and forms the back­drop for this paint­ing.

My De­sign Strat­egy

Af­ter view­ing my many seascape photos, I have taken over the years, I pick out as many as 20 that may have some rel­e­vance to the scene I wish to por­tray. I then com­pose a very rough sketch in a sep­a­rate sketch­book, of­ten with much eras­ing and re­draw­ing. In this in­stance, I wanted a fairly sig­nif­i­cant fore­ground tak­ing up one-third or more of the paint­ing, lead­ing the eye into the el­e­ments of the com­po­si­tion, which be­come more faded into the mist. I al­ways like some sen­tient life form in a com­po­si­tion whether it be peo­ple, birds or an­i­mals and placed a seag­ull on the driftwood log. In na­ture, it is very dif­fi­cult to find a bal­anced scene and it is an artist’s priv­i­lege to bal­ance, en­hance and em­pha­size as nec­es­sary.

My Work­ing Process

In this in­stance I pre­pared a 28-by-40-inch Ma­sonite board ¼-inch thick with about seven coats of gesso, The white sur­face was cov­ered with a coat of cad­mium or­ange acrylic to cre­ate a warm un­der glow.

I paint the sky first and then each suc­ces­sive fea­ture com­ing for­ward as one cuts into the other. Oil paints are very for­giv­ing as they don’t run one color into another and may be painted over when dry if the col­ors don’t look right, or even lightly sanded to re­move dry paint to cor­rect some­thing when view­ing on the easel. At­ti­tude is im­por­tant when cre­at­ing de­tailed paint­ings. Re­mind your­self that if it takes hours to paint one small sec­tion of the paint­ing, and it looks right, to be sat­is­fied.

Con­tact De­tails

» Email: td­hall@nethop.net

Fi­nal­ist

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