Storm Bay from the Cliffs at Fossil Cove - 36" X 34" - OOC

edited May 12 in Post Your Paintings
There are still a few adjustments to make on this but I get the canvas covered tonight so thought I'd ask for feedback in case folks see anything wrong that needs changing before it dries. As usual it's a crappy phone photo taken at night so the colour looks a bit washed out and the richness and depth is lacking. I'll take a  better photo outside in daylight with my Olympus camera tomorrow.

 I know the composition is a bit edgy but I kind of like edgy. 

Anyway, all comments very welcome. 

Thanks for taking the time to have a look.  :)




  • Oh, really nice (yet again!) I like the way you have the rocks on the right, the shallow water in the foreground and distance water and islands all to look at.

    Did you... put a bird in? ;)
  • Thanks, @Richaed_P.  Glad you think it works.

    Yes, I put the bird in but it needs adjusting.   :)
  • It definitely works!
  • Yes yes yes.  I look down and my head starts swirling with the inspiration the swirling water provides.  The bright daylight reflecting off of the stone is very realistic.
  • Gorgeous.  I really like these rocks and ocean shores that you paint.  I'd have to drive 4 to 5 hours just to get to the Gulf of Mexico and there aren't any rocks to speak of on that shore line.
  • Thanks very much, @allforChrist and @oilpainter1950.  I'm happy that you guys think it looks ok.  :)

    @oilpainter1950, I can relate to having to drive a long way to view the sea. I grew up in flat inland Australia and didn't see the sea until I was 11 year old. I was overwhelmed by its wasteness and beauty. That hasn't changed. I still love it. :)
  • Wow.  that’s lovely. and yes, the bird works.  It definitely looks like a place I’d like to be. Congrats 
  • It's a lovely perspective. When you put together a series you mix it up really well. I really like the three components in terms of the cliff tops, looking out to see, but then the shallows and transparency in the foreground. So many in composition seem to disqualify that split view between foreground (single glance kind of philosophy) and background, but I love it. That's what the experience of this place entails, absorbing the connection of textures and spaces. My own seascape does the same.
    The cycle of colour is the other delight. It's an anticlockwise spiral through the spectrum, from cold blue to the greens, warming into the shallows to subdued orange/ red rocks, and cycling back through violets. And the shadowed cave gives the eyes a lovely refuge.
  • Thanks very much, @Abstraction. It makes me happy that you think it's ok.

     I'm glad you noticed the colour.  I was thinking of calling it Rainbow Cliffs, lol.  :)
  • Better photo. Gorgeous, I could just touch that shallow water!

    Not sure if you need the bird?
  • edited May 13
    Cheers, @Richard_P.

    Yes, a friend also said that about the bird. I think I'll make him fly out of the picture.  :)
  • The photo difference is night and day! 🙃 I love the rendering (if that’s correct term) of the waves and of the rocks on the right. I have no art background so I’m not qualified to offer anything constructive, nor even properly describe what I like about it tho
  • Thanks very much, @menkinsl.

    You love art so you are as qualified as anyone.  :)
  • BTW: How did you get a canvas that's 36" x 34"? Or was it a 36" x 36" one and you are going to cut/frame out the extra 2"?
  • I stretched it myself, @Richard_P.  It's the cheapest and quickest way and you can get exactly the sizes/aspect ratios you want.  I buy a 10 meter roll of canvas and a variety of stretcher bars sized from about 22 inches up to about 42 inches. That means that I can stretch whatever size I need to fit the composition I come up with. I don't like trying to make the composition fit the standard sizes of the mass produced canvasses that you can buy ready stretched. My art store will stretch them for me but that makes to too expensive so I do it myself. Craft.  :)
  • edited May 13
    BTW, for those who like using aluminium panels,  if you buy large sheets you can do the same. You can cut them to the aspect ratio you think your composition demands. You don't have to be limited by the sizes the the art supply stores stock.  :)
  • Great work, I especially like the upper right cliffs and the lower left water.  Lose the bird, it’s schmaltzie.
  • edited May 13
    Thanks, @Alan_Cangemi. Much appreciated. I'm happy you think it works. :)

    That bird is now out of the picture. It's kitsch.

    Over the years a number of people here have asked me why I don't add animals and figures to my landscapes even though they were not there in reality. The answer is that it's schmaltzy.  It's like adding little log cabins and wagon wheels to a landscape. They are superfluous cliches.

    Thanks for letting me know your thoughts on it. I think I was right to take it out. :)
  • Looks better, and the colours look more chromatic in this photo too!
  • This is beautiful painting @tassieguy ! The water on the rocks looks so real it's eerie :)
  • Thanks very much, @ArtGal. Much appreciated.  :)
  • This is one of your best.  I like your sea side paintings.  This one has an interesting view, like view from a cliff.  The deep blue of the sea is rich and plays well against the orange hues of the cliffs.
  • edited May 13
    Thanks, @GTO:)

    I like the sea. When I stand on a high cliff, and look out on it's blue vastness, I'm glad to be alive. :)
  • The perfectly painted cliffs, shadows, perspective, amazing! Great work. Allot going on that makes you want to look harder, and when you do, you like what you find. Looks really hard to paint something so vast and to capture the right balance of space and detail. I think you succeeded in doing that. I wouldn't mind seeing more birds to give the painting a more living/organic feel. But I love it the way it is!
  • I agree about the cliche. On the other hand, it then becomes a thing, right? I can't add an animal because it has become that. And we naturally rebel at that. I'm glad you're at least trying to push that boundary, because I don't think it's always a cliche, but finding the situation where it works is an interesting challenge.
  • Thanks very much @whunt. Much appreciated.  :) 

    I understand about the birds. However, I think I would need to do a group of birds circling, forming a sort of arc that serves a compositional purpose. But I would have to imagine them and don't think I have the skill to do it well so best to leave them out.  :)
  • edited May 14
    Thanks, @Abstraction. Yes, I agree that it can be made to work but I didn't think it out before starting the painting and I don't think I can paint them in now.  Next time I'm out collecting material for a seascape I'm going to look for groups of birds to photograph so I don't have to imagine them. I would need to put them in at the planning stage and have them serve a compositional purpose.  :)
  • Wowwww, even better now.  This photo does really show what the painting truly is and how alive it is.

    Hope you don't mind the heart icon I gave about your opinion on heart icons. ;)
  • edited May 14
    Thanks, @allforChrist and @vartikisinha. I'm ok with the heart icon but I especially value the comments you guys give. Much appreciated.   :)
  • I understand what you mean about being reluctant about adding birds that would fit into the you know, I am learning about how best to approach these 'problems', as I still have much to learn. No disrespect in my suggestion I hope.

    In my short time within the forum, I have learned much about the approach, mindset, and technical diversities available. I wouldn't have came back to this forum, even for a second look if not for the amazing quality of work I have seen posted here and honest, professional commentary.

    You (tassieguy) always post positive and encouraging comments to everyone who posts a painting along with solid, truthful advice on how one might make improvements. There is always something to be said and respected for those that can walk the talk. For me, paintings like this tell me to look harder, listen and learn. Thanks for posting and the open/meaningful communication.
  • Thanks so much, @whunt. Much appreciated.

    I have gotten so much out of this forum over the past six years. This place has taken me from zero knowledge and skill to having an annual exhibition at one of the major commercial galleries in my city. I owe DMP much more than I can ever give back.  It's a pleasure to be able to provide feedback to others.  And good to have you aboard.  :)
  • Congratulations. Another brilliant picture.
  • This is a wonder no doubt! Colors are reminding me of some of Monet and Cezanne!
    Is there any need to glaze the distant blue area to create atmosphere? I see the blue area as too sharp. There can be a little distance between the foreground and the background blue. But you guys know the sea better than me...just thinking pictorially.
  • Thanks, @Kaustav. Do you mean the horizon? It is rather sharp. I'll experiment with softening it a little.  :)
  • @tassieguy something like this but Iost some color due to bad Photoshop skills!

  • edited May 16
    Thanks, @Kaustav, for your suggestions. 

    When I painted this I decided I needed to reduce the chroma in the sea because, although in reality the blues were amazingly intense, they looked unbelievably so, more so than in my painting. It's the air and water down here - everything is pristine and clear. There's no pollution and no haze in the air like you have in the N. Hemisphere. So the colours are chromatically vibrant and clear.  But, anyway, I did reduced the chroma from what was there in reality (I took on site colour notes and wasn't relying on a photo for colour) but I might experiment with your idea of bringing it down in chroma a bit more and up a bit in value. But I want to keep the clarity of the colour. What you've done in the photo above looks a bit like a seascape in a dust storm, lol.  It's not like that here. It's like you see in my painting. 

    I'm working on a forest scene now. By the time I finish it  this seascape will be completely dry and I'll be able to try using glazes with lead white and orange to adjust the value and chroma of the water. But I'll do it in Affinity Photo first to see if I think it will be an improvement. If not, I'll leave it as it. My principal aim is to give an honest rendering of the scene. If people find it too colourful for their tastes I'm not bothered at all.  :)

    I'm hoping you will remove your "improved" photo, @Kaustav.   :)
  • In light of KaustavM's comments, I had a bit of a go at adjusting the value and chroma of the sea in Affinity Photo. I can't decide whether I like it better. This is not the colour of the sea that I saw but do folks think the changes add more of a feeling of distance and depth? If so, I'll do the glazing on the painting itself. 

    Thanks all for your help on this one.  :)

  • I think this creates the distance and has the color. Others might choose more colorful option. Anyway, it's your painting. You have the final say.
  • I like it the way you painted it.
  • That Southern Ocean can be a very deep colour. If you do it at all, I'd only do it in the far distance past those far rocks, where the angle of perspective picks up more reflected sky and there is more air. Or not at all.
  • Thanks, @Abstraction. Yes, if I do it, the change will be minimal.  :)
  • A wonderful piece Rob, the colours and expanse.

    I can feel the heat and hear the waves crashing.   

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