sea fever

Tidal flats

Tidal flats, acrylic on board. Mari French 2014.

 … the sea has been in my blood it seems this week. An exhilarating visit to Brancaster and Titchwell beaches on the North Norfolk coast last weekend, where I also explored a creek new to me, resulted in several busy painting sessions back in my studio.

Tidal flats 2

Tidal flats 2, acrylic on board. Mari French 2014

The recent tidal surges and storms were evident in the scattered remains of some of the dunes across the tidal flats, but on the whole the stunning beaches were back to normal. The looming cloud formations betrayed the approaching change in the weather but added to the dramatic scenery.

Brancaster beach, Mari French 2014.

Brancaster beach, Mari French 2014.


Brancaster beach, Mari French 2014.

Brancaster beach, Mari French 2014.


Creek, Titchwell. Mari French 2014.

Creek, Titchwell. Mari French 2014.

 

 

visual language …

as mentioned in my previous post Making a Mark, I’ve been concentrating on developing my own visual language with a series of small mixed media pieces on paper. I’m quite pleased with these three and I’m going to keep at it, because hopefully it will bring a new dimension to my paintings. 

abstract 1. Mari French 2014

abstract 1. Mari French 2014

 

I’ve been using a fairly limited acrylic paint palette of Burnt Umber, Titanium White and Prussian Blue, which I’m finding very fresh and satisfying just now. I haven’t used Burnt Umber much before, finding it a little red, usually preferring Raw Umber. The scribbled marks are mainly NeoColour watercolour pastels… I prefer their soft smudginess to oil pastels, and get around their solubility with a fixing spray of Matt acrylic medium. There’s also some lovely sludgy burgundy Inktense stick in there too and ink stained tissue.

abstract 2. Mari French 2014

abstract 2. Mari French 2014

 

Although intentionally abstract, I did have in mind the salt marshes, creeks and staithes of the north Norfolk coast, where I often walk and sketch.

abstract 3. Mari French 2014

abstract 3. Mari French 2014

 

abandoned colour …

a selection of sketches from a week in Cornwall in September, spent exploring the moors, coast, ancient Bronze Age remains and the other-worldliness of the abandoned tin and copper mines in the Penwith area.

Towards Rosewall Hill, Cornwall

Towards Rosewall Hill, Cornwall.

These sketches were made on the spot, (in varied weather) in my current favourite sketchbook – a Moleskine watercolour sketchbook. The paper weight is robust enough to stand up to the deluge of water I usually flood each page with and I prefer the landscape format over the A5/A6 sizes sketchpads and books tend to come in.

Apart from my usual use of wet-in-wet watercolours and pencil, I was trying out the Derwent Inktense blocks which I’ve recently discovered; I love their immediacy of colour, their smudgy intensity, especially in the darker colours, like the plummy colour shown in the sketch above.

Mine stack at Levant, Cornwall.

Mine stack at Levant, Cornwall.


Verdigris leaching from cliff, Levant Mine.

Verdigris leaching from cliff, Levant Mine.   

The colours of the earth around these mines where the ores carpet the surface, and the copper verdigris leaches from the sea cliffs below the mines, have to be seen to be believed! It looks just like a giant has flung pots of paint around with abandon.

Mine stack, Levant Mine.

Mine stack, Levant Mine.

 

Rubble & ore, Levant Mine.

Rubble & ore, Levant Mine.

There is enough visual inspiration in this industrial landscape to warrant returning and spending much longer gathering material for a whole series of work. I’d love to do just that.

Rock formation, Levant.

Rock formation, Levant.

 

Men an Tol, near Morvah

Men an Tol, near Morvah

  

Rainclouds over Porthmeor bay, St Ives, Cornwall.

Rainclouds over Porthmeor bay, St Ives, Cornwall.