Movement

Edgard Pieter Jozef Farasyn, 1858-1938, 28 x 43 cm


Painterliness in the waves and sky, contrasted to the crisp fine detail of the fishing boats, gives a sense of movement.

Though the brushstrokes in the waves are painterly, they conform to the planes of the waves.

Randomness

John James Wilson (British, 1818-1875) Near Folkestone, 12 x 20 inches 

Detail

Waves are usually chaotic in structure. No two are alike. To make them look convincing, brush or knife marks need to be random and varied. However, the direction of the marks should still follow the planes of the water surface, the movement of the wave, the direction of the wind, and the source of light. The white highlights on waves crests are often best done with a painting knife because knives tend to produce a more random effect than brushes. Vary not only the shape but the tone of the highlight marks. Fine marks can be made with the tip of a small knife with a relatively sharp point. Twisting the knife as you trail it lightly across the canvas creates more randomness. While striving for randomness, don't forget to make the marks decrease in size with distance. Highlights are often done in impasto, but three dimensional texture should also decrease with distance. With practice you can create the impression of fine, realistic detail with very rapid passages of knifework.

Greg Baker - Australian

Rottnest, 168 x 71 cm


Getting Away, 124 x 93 cm
.

Wonderful abstract, expressionistic brushwork in the water reveals the energetic, calligraphic hand of the artist, while remaining true to the nature of water. This is contrasted with more contained brushwork in the land, suggesting solidity.

To see more of Greg's work,
visit his website: www.gregbaker.com.au