I’m biased but yes – for me revisiting the same subject a few times feels like it’s really paid dividends. As for using other artists for inspiration – absolutely! I started my journey trying to emulate those that I most admired – particularly Edward Seago, Edward Wesson and Rowland Hilder. I considered studying and emulating their works as a sort of apprenticeship and have only recently been pursuing my own path.

I’m glad to hear that. I’ve been wanting to repaint some of mine too. It’s good to know that other artists find the practice worthwhile. Do you ever copy other artists, just to see if you can create the same effects they do? I know the old masters all started off like that, or so I’ve heard, copying the masterworks of their time. Maybe all artist do that. I’ve been creating what I call “studies” of painters/paintings I admire. Not exact copies but trying to capture something of the flavor and technique. Most of them have been oils, so it’s been interesting to see if I can create similar effects with watercolor that they do with oil. Anyway, I’m finding all this so fascinating as a new painter, and it’s great to hook up with others who have been doing this longer and with so much success.

Hi Deborah and thanks so much for this. As you might have gathered, I feel I learn a great deal from tackling the same subject a few times over. Each time I seem to correct some mistakes, and make entirely new mistakes. The outcome is usually that I end up with similar, but very different paintings and there are usually elements in each that I like – and these paintings are no exception. I feel like I’m striving toowards a balance in one single painting between what I’m currently achieving across two paintings. This is usually a freedom and spontaneity in the first effort, with a greater sense of control and refinement in the second effort – which often comes at the expense of the freedom and spontaneity! I’m really looking forward to the day when I do one painting, and am sufficiently satisfied with it (I know I’ll never by totally happy with a painting!) to leave it at that and move straight on to another subject!

Thanks so much for this! I’m really pleased that you prefer the composition of the second one. As for the sand, I’m still kicking myself for going in so heavily with this! Part of me wants to have another go to see if I can bring all of the elements together in a third time lucky effort – and another part of me wants to leave it all behind me and move on! Thanks so much for taking the time to comment.

Hi Sarah and thanks for this. I think you’re right on both counts. There’s something I like about the muted palette, even if I am still kicking myself about muddying the sand so much. I wonder if a brightly coloured bouy with a bit of a reflection in the foreground water might give it a welcome pop of colour? (I’m not going to try this by the way – far too risky at this stage!) Like you, I’m also a bit ambivalent about the crops, I think either could work once it had a mount round it but the narrower version would probably be the most dynamic. Thanks so much for taking the time to look and comment, I really appreciate it!

hehe…..yes, happy painting I go!

Haha – what a deeply foreboding thought Margaret! Hopefully I can post something next week to elicit more cheerful thoughts! Happy painting in the meantime!