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Digital Subscriptions > The Artist > Nov-17 > Focus on seascap

Focus on seascap

Robert Dutton concludes his series by showing you how to apply the rules of perspective to create exciting seascapes
Last Light at Staithes, East Yorkshire Coast, Rembrandt and Unison soft pastels on Canson Mi-Teintes Touch black pastel paper,

350gsm, 14x21in (35.5x53.5cm).

Many of the vanishing points of the individual buildings on my eye level crisscrossed one another, with many being outside the picture frame. Not forcing the angles of the building too acutely, so the vanishing points are where you can see them (ie within the picture frame), makes a much more accurate depiction of the scene in terms of’ true’ perspective

PERSPECTIVE : 3 OF 3

When you first consider how to make the rolling mass of water that is the sea into a convincing painting it can seem like a daunting task. But by spending a bit of time observing you will soon become attuned to your subject. The regular rhythm of the waves moving in and out of the shore can be studied to reveal a pattern of flowing linear lines. By following the direction of the current and angles of the waves as they approach the shore, for example, and noticing in general terms where these lines converge, you will discover the all-important vanishing point on the horizon, and your eye level.

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About The Artist

Welcome to our November issue in which our highly talented, experienced artist-tutors challenge you to re-think your approach to complementary colours in watercolour, draw a sight-size self-portrait, capture an autumnal scene in watercolour, dramatise your skies, try graphite techniques, use negative spaces to your advantage, paint a light-filled interior in impressionistic style and master perspective for successful coastal scenes. And that's just for starters! Artist-judge in BBC1's The Big Painting Challenge, Lachlan Goudie, shares his experiences of painting Scotland's shipyards ahead of his forthcoming exhibition, Nick Poullis offers tips on setting up your own gallery, Julie Collins advises on colour choices for yellow, Michele Del Campo test reports Winsor & Newton's Artists' Oil Colours, including his top tips for oils painters, and Peter Burgess takes a practical look at materials for painting and how best to store them. Enjoy another inspirational issue packed with ideas and advice for all artists!
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