Sketch becomes painting

Sketching helps me think about basic shapes and colours.

Lake Marian sketch

These are the colours of the sketch. The colours of the backround are on the top of the chart. The colours of the foreground are on the bottom.

This is the start of the full size painting.

This is the completed painting Lake Marian.

These are the colours of the finished painting. The colours of the background hills are on the top of the chart. The colours of the foreground water are on the bottom.

Sketches, Lighthouse Park


Juniper Point Jumpers sketch

I did these two sketches of the arbutus in Lighthouse Park, West Vancouver.  They helped me paint “Arbutus”.


Arbutus sketch


Arbutus | 2011 | Acrylic on board, 44″ x 28″ |  Sold

Patterns in colour, triads

These are the colours for Spawning Salmon

These are the colours I used to screen print  Spawning Salmon. They are a triad of brighter colours on a dulled yellow ground. Orange dominates this pattern. with blue and green accents. Triadic colour schemes use colours that are evenly spaced on the colour wheel. Vibrant colours can be used in harmony. This particular triad is a tertiary triad.

“Spawning Salmon” screen print by Kent Crawford

Sketches, choosing colours

These two sketches helped me choose colours and lines to emphasize in my painting Milford Sound. The first sketch uses a bright blue on top of a dark blue to show the sea. The second sketch uses a bright blue on top of a dulled green to show the colours of the sea. The sky in the second is lighter to emphasize the line of the mountain that falls to the sea.

The top colour chart is for the second sketch which became the colours of my painting Milford Sound.

Milford Sound by Kent Crawford

Mitre Peak is a mountain in the sound that is a very strong national symbol. I was more interested in the meeting of mountain and sea than that icon. I removed photographic details of that  mountain to emphasize that relationship.

Patterns, colour in memory

This is a sunrise on Lyttle Mountain

This image is closer to my memory of a sunrise on the Routeburn Track, New Zealand, than photographs I took on that hike. It is a composite of two photographs. The colours of the foreground came from a photograph exposed at 1/30  of a second. The colour of the background  came from another  photograph exposed at 1/1260 of a second. I think what happens is two glances are joined in my memory. Colour memory is maleable and weak.

The background colours for "Lyttle Mountain" came from this photograph

The foreground colours for "Lyttle Mountain" came from this photograph

This is the completed 18" x 23.5" painting.