Here we go...

[Julie Deane]

I miss seeing you too, Patty! It doesn't seem that long ago that you were living in Atlanta. I almost hate to tell you that this evening it's cooling off at 60 degrees and the neighborhood's first daffodils have bloomed. But yesterday it was cold and very windy. North Georgia in February is changeable.

I am not sure what to suggest concerning an approach to your painting. I've never attempted a sea scene in oils. My gut says to go with transparents at first, but I think I'll leave specific painting suggestions to those more knowledgeable than I.

I'll look forward to seeing your progress

[Mischa Milosevic]

Pat, think about playing down the horizon line it is to sharp which can be distracting.

Just a thought

[Mary Cupp]

Pat,

What I notice about your reference photo is the wonderful reflected light intermingled with direct highlights that permeates the scene including the figures. IF you bring the same colors of the blue water and the warm ocher beach tones into the figures, especially into the reflected lights in the shadow areas, it will wed the figures into the background.

Figures in a landscape present a special challenge to make both a part of the same fabric. It requires a careful study of the shared color of the light- both direct and indirect.

[Patricia Joyce]

Mischa,
Definately.

Mary,
Your insight is very helpful. You have given me something to do which I did not think about, even though I know to do so- duh!

[Mischa Milosevic]

Pat, just a thought came to mind. I was reminded by Allan's post of Kroyer. Have a good look at the on the beach scene the value and color. I think you can use the same value/color scheme in your painting. Also think about placing all the boys without a shirt. Maybe painting the entire scene using same colors as Kroyer did and then add some subtleties of shadow.