The Beach at Port Stephens

Noelene captures the marvellous atmosphere in this colourful painting. Several photos are used for reference- taken when I was painting “plein air” in Port Stephens. I use Matisse Structure paints which give me great coverage and texture on this canvas.

STEP ONE

For this painting I mix a thin strong paste using black acrylic with water and some polymer gloss varnish. Using a piece of cosmetic sponge attached to a skewer (see ‘materials’) I draw in the “bones” of my subject. Dipping the sponge in water allows me to adjust my tones for perspective and interest. With the fine end of my sponge I can roughly sketch in figures to give me some idea of my composition.

STEP TWO

Keeping my paint undiluted and my brushes dry I use viridian green, burnt sienna and cobalt blue to paint the mass of trees that surround this beach, then add some yellow ochre to convey light on the foliage. Even more yellow and a touch of white for the grass, then the back hills are painted using cobalt and white with a little green left over from the trees and some magenta for warmth. All the time I am checking with the photos for patterns of colour and tone.

STEP THREE

Now I paint the water using cobalt blue, viridian green and ultramarine with plenty of titanium white, always referring to my photos for the variations in tone and colour. I have painted over the figures in the water but they remain in my memory.

STEP FOUR

Next I work on the sky - painting into the edges of the background trees. Yellow deep and white (very pale) is used on the horizon, blending up and into a mix of cobalt and white with ultramarine added nearer the top. Cobalt blue, magenta and white with a touch of yellow ochre are mixed and applied to paint the wet sand at the waters’ edge. Next using a flat acrylic brush I paint the buildings very loosely, adding burnt sienna to my palette.

STEP FIVE

This is an exciting stage. I mix a juicy blend of white with a “touch” of yellow deep and paint the sand in its lovely

curve. As it widens toward the front of the painting I add some impasto medium with a palette knife to give greater texture. I also add some ‘dirty’ sand to the left of the beach. Now I let the painting dry for a few hours before varnishing all over with a mix of polymer gloss varnish and water.

STEP SIX

Concentration time! And I decide to change the source of my light. This involves some lighter walls on the buildings and an adjustment to the foliage highlights so these are all repainted using the original colours. This repainting also adds a depth and richness to the work and allows subtle changes to be made here and there. I also add tree trunks and lighter foliage to the left of the beach.

STEP SEVEN

Figures go in next. I just use burnt sienna, adding ultra to the dark side and yellow ochre and white for the sunny side. Lots of photos or s ketches are needed for reference, and experience helps to get the perspective right. Colourful clothes and umbrellas bring the painting to life as the white waves also add movement. I leave this work to dry completely for a day or two before again varnishing all over.

FINAL STEP

Last stage but it’s not too late to make changes! I rework the left-hand trees and add a figure to define my centre of interest. I have now signed this painting so I “think” it is finished! ■