sailboat painting maine

Service Rates (effective March 1, 2023 can change without notice)

• Mechanical & Installations Labor Rate – $160.00 Per Hr
• Yard Labor Rate – $110.00 Per Hr
• Shop supplies fee (calculated on labor) – 2.8% max $225.00
• EPA Fee (calculated on labor) – 7.0% max $400.00

Bottom Paint

• Re-coat bottom paint labor & materials less than 9′ beam – $35.00 Per Ft
• Re-coat bottom paint labor & materials 9′ beam & up – $39.00 Per Ft
• Re-coat outdrive includes trim tabs – $325.00 Each
• Re-coat engine bracket includes trim tabs – $200.00 Each
• Re-coat inboard running gear – Time & Materials
• First time bottom paint-fiberglass less than 9′ beam – $105.00 Per Ft
• First time bottom paint-fiberglass more than 9′ beam – $120.00 Per Ft
• First time bottom paint-aluminum less than 9′ beam – $195.50 Per Ft
• First time bottom paint-aluminum more than 9′ beam – $225.00 Per Ft
• First time prep & paint outdrive – $500.00 Each
• First time prep & paint engine bracket – $230.00 Each
• Re-coat all sailboats – $40.00 Per Ft

Boat Washing & Waxing

• Exterior wash & wax to 9′ beam – $40.00 Per Ft
• Exterior wash & wax over 9′ beam – $55.00 Per Ft
• Hull only wash & wax – $18.75 Per Ft
• Exterior wash, machine buff and wax to 9′ beam – $43.00 Per Ft
• Exterior wash, machine buff and wax over 9′ beam – $80.00 Per Ft
• Hull only wash, machine buff and wax – $32.50 Per Ft
• Topside pressure washing & washing – $110.00 Per Hr

Shrinkwrap Services

• Shrinkwrap boat to <9′ beam – $27.50 Per Ft
• Shrinkwrap boat 9′ beam and larger – $33.00 Per Ft
• Shrinkwrap larger cruisers and sailboats – $41.00 Per Ft

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Sarah Laurence

Books, art, and life in Maine

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Wednesday, November 13, 2013

A sailboat painting of maine: how to capture a dream.

"For twenty two years, I've closed my eyes each night and pictured my little house on the coast, the front porch, the late afternoon sails on my little boat. Thinking of those things brought me the most peaceful feeling."

12 comments:

First of all, I love the process you so well described. Secondly, the photo of the sailboats makes me of think of winged creatures travelling across the water. It's a superb shot. Many thanks. Greetings from London.

It's so interesting to see the process you go through in creating a painting, Sarah. I love the yellow sailboat and its reflection in the water. Your client must be very pleased with the results!

Your candor and indefatigable approach to your work are refreshing, Sarah. I love the behind-the-scenes look (especially that lobster!). And your painting does inspire a peaceful feeling. Well done!

So interesting to see how the lovely watercolor was created. The reflections on the water are really beautiful! The boat looks like it can take you wherever you want and at the same time it looks like it can stay in the inlet as long as you want. Your painting "brought me the most peaceful feeling" ! Thank you, Sarah! I've just read your former posts. The autumn leaves in Maine are amazing. I've always loved to see your fall pictures at this time of year. Maine's autumns are really something!!

Oh wow! That is truly stunning. I also found it so interesting to read about your process. You are so talented.

A most fascinating description of how you work, Sarah. I have enormous admiration this kind of talent....;)

Glad you were able to soften the blow of a disappointing day with lobster and calla lilies, but you achieved a gorgeous final result with this painting.

That was so interesting to read. I didn't realize how much work there is behind the art. The final product is beautiful. You are truly talented!

Fascinating process, Sarah. I enjoyed seeing all the photos of the different steps. Thanks for sharing.

I love the vibrant freshness that pops off the page with the finished painting,and it's such a delight to watch the process that brought you there. Thank you for sharing the creation. Since I've not been doing much internet lately, I just saw those glorious photos of fall in Central Park. Absolutely grand.

Sarah, I thought I had commented on this wonderful post. I was hooked when seeing your buttery yellow sail. Delightful painting and fun to see your process. You live in such a beautiful area.

All, thank you!

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Maine Sailing - Oil Painting

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Description

An oil painting of a sailboat of the coast of Boothbay Maine by Julia Swartz.

More info about giclee prints, gallery wrapped, framing, etc.

Original oil painting on canvas is 12" x 24".

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Maine Home + Design |

The notable maine artists of 2019, seventy-eight of the state’s most collectible artists, from emerging to established..

JULIE CYR A native of Waterville, Julie Cyr began her artistic career as a musician and singer. Now she paints full-time in her studio in Belfast. Much of what Julie found beautiful growing up in Maine continues to inspire her to bring that beauty to life on canvas and board. An optimist by nature, she sees the light and shapes that arise out of the simple scenes around her, including landscapes, barns, and wildlife.

Tutu and Tookie, oil on wood, 16” x 20” | juliecyr-art.com

PHILLIP FREY Philip Frey is a nationally exhibiting artist best known for his bold paintings of Maine’s coastline, landscape, and working waterfronts. His primary focus is color and light, and the inherent forms found in nature, interiors, and figures. He paints from direct perception, preferring the dynamic quality, richness, and challenges of working from life. In 2016 the University of Maine Museum of Art mounted a solo exhibition of Frey’s work. His work has been highlighted in several books, including Philip Frey: Here and Now (2018) by Daniel Kany and Carl Little, as well as Art of Acadia (2016) and Paintings of Portland (2018), both by brothers Carl Little and David Little, and in numerous publications, including Art New England, Gettysburg Review, Maine Policy Review, and Maine Sunday Telegram. Frey’s work is held in private and corporate collections both nationally and internationally. He studied at Columbus College of Art and Design and graduated with a BFA in painting from Syracuse University in 1990. Frey is a longtime Buddhist practitioner and has traveled to Nepal and India to study with renowned teachers. In 1995 he became involved in the Ellsworth Meditation Center and remains an active member. Frey lives in the downeast area, where he maintains a full-time studio nestled in the woods.

Double Cannon Ball, oil on canvas, 24” x 24” Maine Art Hill | Kennebunk | maine-art.com 

PAUL BONNEAU Often referred to as a “colorist,” Paul Bonneau makes work that is fresh and directly painted. His simple, concrete shapes and strong contrasts of light and shadow provide the platform for his intensification of local color. His goal is to capitalize on the joy of a place that has made an impression on him and to hold it somewhere between reality and memory. Bonneau was recently juried into the Providence Art Club’s National Open show and the Rocky Neck Art Colony member show, and he received the North Shore Arts Association’s Award for Excellence in New England Impressionist Landscape as well as their Guerrilla Painter Award. He has also earned a first place in impressionism/landscape from the American Art Awards. He has shown in many invitational shows, including the Rotenberg Gallery’s Selected Boston Artists show, as well as shows at the Danforth Museum, the Bedford Art Museum, the Thos. Moser Gallery, Maine College of Art, and Ogunquit Art Association. Bonneau is a seven-time participant in the Cape Elizabeth Land Trust plein air invitational juried auction, as well as the Boothbay and Castine competitions and a number of local charity auctions. He completed independent study at Boston’s Museum of Fine Arts, the New England School of Art and Design, and the University of Massachusetts.

Through the Dunes, acrylic on canvas, 20” x 24” Wright Gallery | Cape Porpoise thewrightgallery.com

MONICA KELLY For over 30 years, artist Monica Kelly has created paintings inspired by Maine’s landscape. After an unexpected turn of events in her life, Kelly began to see dramatic changes and unfamiliar imagery appearing in her paintings. Her most recent work reflects a period of untethered exploration. Kelly’s sense of liberation on so many fronts also came with feelings of isolation and fear, just as many artists speak of the loneliness of the creative process. The following quote from Edith Wharton’s The Fullness of Life deeply resonates with Kelly: “I have sometimes thought that a woman’s nature is like a great house full of rooms: there is the hall, through with everyone passes in going in and out; the drawing room, where one receives formal visits; the sitting room, where the members of the family come and go as they list; but beyond that, far beyond, are other rooms, the handles of whose doors perhaps are never turned; no one knows the way to them, no one know whither they lead; and in the innermost room, the holy of holies, the soul sits alone and waits for a footstep that never comes.”

What Remains Behind, oil on panel, 12” x 24” | monicakellyart.com

DAVID JACOBSON David Jacobson’s handblown and kiln-formed glass pieces feature contemporary designs based on the Venetian tradition. Jacobson makes brightly colored functional objects, such as bowls, glasses, vases, and platters, and also sculptural forms. “I employ contemporary colors with classical forms to create a unique expression in each piece,” he says. “Texture and vibrant color combinations are vital; my pieces are meant to be touched and explored as well as viewed. For me, making glass is an honor.” His work may be found in major collections, galleries, and shops around the country.

Calamari, blown glass, 10” x 6” x 4” Maine Art Hill | Kennebunk | maine-art.com

JOHN BRYAN For 40 years, independent artist John Bryan has been creating original designs by hand with the use of ancient chisels. There aren’t a lot of full-time woodcarvers left in the world, as it’s incredibly demanding work; the medium regularly presents unique challenges and limitations. Bryan has carved a broad spectrum of work, ranging from mantelpieces to entryways, sculptures, and bas-relief hearth and wall panels. He has also published ten bronzes from some of his favorite carvings. In the absence of a painter’s color palette, strong form and good composition have been paramount to the success of his work. Cow is carved from a rare European linden tree that was planted on a Falmouth Foreside estate in 1880 by Frederick Law Olmsted; the tree fell in December 2017. The nonindigenous tree was the largest of its type in the United States. European linden is a superb carving wood that was commonly used throughout England and Europe during the carving renaissance in the seventeenth and eighteenth centuries. This Olmsted linden was a gnarly old goat, and had surrendered much of itself to bugs and rot over time. The figure in Cow is demonstrative of a very long life, well lived.

Cow, European linden, 18” x 6” x 5” | bryanart.com  

JILLIAN HERRIGEL Artist Jillian Herrigel’s work reflects her intuitive reaction to a scene or idea. Her reaction involves combining color, shape, and line through a process that she considers to be somewhat inexplicable. Inspiration for her paintings can be anything from the mundane to the beautiful, with results that allow the viewer to form his or her own interpretation of or reaction to—not every creation connects to its original idea, and different concepts and representations often emerge. If Herrigel had to describe her work in two words, she says, she would call it “imaginative realism.”

Gathering of Dinghys, watercolor and collage, 18” x 25” Centre Street Arts Gallery | Bath | centrestartsgalleryllc.com

HAROLD BARNARD Harold Barnard’s work stretches across contemporary artistic styles: abstracts brim with color, surreal skies envelop cities, hidden faces peer out unexpectedly from kaleidoscopic dreamscapes. Woven into larger works, often as a painting within a painting, are colorful representations of the natural world—breaking ocean waves, birds in flight, migrating fish—pulled from the roots of the artist’s experience exploring, hunting, and fishing in the woods and waters of downeast Maine. “As a boy, I loved being in and around water. Whether ice fishing at 20 below, dragging streamers across Grand Lake, or thrashing through heavy woods to that hidden beaver dam, my adventures were varied and still fill my heart much in the same, warm way painting does,” says Barnard. “I like the feelings, the freedom, and places my creative pull takes me.”

Last Legs, oil on canvas, 48” x 36” One See Studio | Eliot | oneseestudio.com 

TIM SAPPINGTON While Tim Sappington lives in the White Mountains of northern New Hampshire, he has painted along the seacoast of Maine since 1963 when his family took a trip to Monhegan Island. He was 14 years old when he made one of his first oil paintings, which depicted a mass of lobster buoys hanging beside a shed. He has since returned several times with his wife, Martha, to paint dozens of oils and watercolors of virtually every nook and cranny of the island. Most of his current work has been centered on the coast of Cape Elizabeth at Fort Williams, Two Lights State Park, and Kettle Cove. Sappington has executed two major pieces depicting the rock mass adjacent to Portland Head Light: the first, a tranquil but misty version, and a second, more dramatic one in stormy weather. His work attempts to convey the power, mystery, and beauty of the ever-changing Maine seascape.

Stormy Sea at Portland Head Light, oil on canvas, 36” x 48” Portland Art Gallery | Portland | portlandartgallery.com timsappington.com 

JANIS SANDERS Janis Sanders attempts to put his love of the outdoors into a tangible, visceral form through oil paint. He adores the buttery feel and spreading quality of oil paint—particularly on wood panel. The smoothness of paint application on wood allows him to express and to translate, as spontaneously and directly as possible, the essence of a place. Whether a painting is done en plein air and reaches for the overall mood and setting of a location or is a larger, studied studio work that strives to convey an interpretation of a specific moment in an everchanging atmosphere, Sanders’s objective is to portray a timely yet timeless quality of such places. In the twenty-first century, with his relatively small personal history of beliefs and experiences, he says, he attempts, for a brief moment in time to connect to the vast play of light and shadow that flows across the enormous expanse of our universe, and is humbled at the vast spirituality of Nature, of a place. Sanders paints expressively and passionately, vigorously and muscularly—applying paint in large gestures with a palette knife, blending only minimally to keep the freshness of the impression and expression from that one moment. For Sanders, there is tremendous, deep joy in the entire process.

Island Shoreline, oil on panel, 24” x 24” Maine Art Hill | Kennebunk | maine-art.com Camden Falls Gallery | Camden | camdenfallsgallery.com

The Gallery at Somes Sound | Bar Harbor | galleryatsomessound.com janissanders.com 

RHONDA PEARLE Rhonda Pearle loves to be painting on a giant canvas with big, fat, smudgy oil sticks. Her paintings are textural, moody, fluid, and bright. She wants to turn the world of the canvas into a world of swimming color. She has been painting for many years now, and after trying to capture reality on the canvas, she realized that she wants to make the canvas her own reality, the way she wants the world to be. Although sometimes it’s nice to use the canvas to express darker feelings, she says, she tends to escape through her canvases to a happier place. Having used the computer as a tool for years as a graphic designer, she now escapes to a painting studio, where she uses hands-on painting tools and has the smell of paint surrounding her. She has realized that this is where she wants to be.

Proclamation, oil and acrylic on canvas, 48” x 35” Bridge Gallery | Portland | bridgegallerymaine.com 

DAVID SEARS Almost 20 years of living on a small island has focused David Sears’s art on what is close and observable: the fragility of island life and the beauty of a unique bio-community. “If you commit to a specific locale, watch it closely and learn the questions to ask, there is much such a place can teach,” says Sears ,a self-taught artist whose work has evolved over years of observation, experimentation, and hard work. He currently uses wood, metal, acrylic paint, and watercolor in several styles, techniques, and media to record life on the outer edge of Penobscot Bay and mainland riparian communities. His current series of work involves birds and fish carved from cedar and painted with metal and acrylic paint. They reflect the various styles employed by Western/European and Native American/Aboriginal artists and cultures to depict their native animals.

Condon Cove, acrylic on paperboard, 18” x 28” Artemis Gallery | Northeast Harbor | artemisgalleryme.com

RICK HAMILTON Rick Hamilton’s main motivation behind his work is making connections with people. He loves to talk about his work and hear how it may affect someone. He is a self-taught artist who uses wooden panels that he puts together himself. Hamilton applies multiple layers of paint and uses sanders, scrapers, and heat to create textures. He doesn’t paint from photographs or models—all of the images are from his head. He may be having a conversation with someone and hear a saying or sentence that inspires a painting, he says, or he hears a line in a song that puts an idea in his head.

Just the Two of Us, acrylic on panel, 48” x 24” Maine Art Hill | Kennebunk | maine-art.com

KAREN TALBOT Traditional scientific illustration is a disappearing art, but it has a relevance and an aesthetic that are as important as any. Close observation and careful documentation of natural-history subjects bring us closer to a world that is often eclipsed by the surface of water or a canopy of trees—too often obfuscated by the pavement beneath our feet or the screen before our eyes. While artist Karen Talbot knows how to paint a background and place subjects in a scene, more often than not she chooses to hold herself to a centuries-old standard: to accurately render specimens in a manner whereby the proper number of scales along the lateral line is more important than the aesthetic of the finished piece. When Talbot gets it right, the beauty and artistry she doggedly chases in her use of various media reflects the beauty of the natural world from which she draws her inspiration. By appreciating such beauty in art, she hopes the viewer of her works might be challenged to look more closely at the natural world—to ask questions, to wonder, and ultimately to conserve that which they have seen through a new lens.

Gulf of Maine Bluefin Tuna, acrylic on panel, 24” x 48” | karentalbotart.com 

SUSAN MATHIAS Susan Mathias works in many different styles and media—oils, acrylics, watercolors, pen and ink, and mixed media. She is inspired by animals, the great outdoors, and the human face. She earned a BFA from the University of Dayton in 1987 and worked as a graphic designer for over 20 years before making painting and illustrating her primary focus. Her paintings have been exhibited in Maine and Ohio galleries. Mathias has lived in many regions of Maine but now enjoys living in Millinocket, in the shadow of Mount Katahdin and on the edge of Maine’s vast northern forest. She is currently drawing inspiration from Katahdin and the mighty pine tree that is such an integral part of the history of this former mill town.

Mighty Pine, oil on board, 12” x 8” | susanmathias.com

MARY BOURKE Exploring simple form, color, and texture, Mary Bourke seeks to find a balance between the figure and the landscape. Each painting is an attempt to express her connection to the piece of earth she inhabits. “With each finished painting simultaneously comes a sense of hope and longing for this place,” says Bourke. “Time seems suspended, and I am young, I am old, and I am home in Maine.”

Fishing, acrylic on birch panel, 48” x 36” Greenhut Galleries | Portland | greenhutgalleries.com 

DAVID MORGAN David Morgan’s creative journey has had many curious transmutations. It began with photography, back when it was still done with silver and light (but in the dark). It’s gone on to include sifting through earth and time as an archaeologist, many years of working with wood—from house framing to hand-carved furniture, and then working with living trees and ecosystems as a practitioner of ecological restoration. Now it’s circled back to visual art, but still with a connection to wood and trees. “I love the alchemy of printmaking,” says Morgan. “It transmutes a visual idea through the crucibles of drawing, carving, inking, and printing into a finished image that holds some surprises for its maker, and hopefully some delight for its viewer.” The first prints Morgan made grew out of his work as an archaeologist in England and his fascination with medieval art. He became entranced in a whole new way once it got more personal, and he realized he was almost trying to bring to life people he had met in his imagination somewhere in the dusty past. However, since becoming a full-time printmaker a few years ago, Morgan says, he also spends more time in the here and now.

Into the Wind, woodcut print, 18” x 71⁄2” Green Lion Gallery | Bath | greenlionart.com | merrymeetingpress.com

SANDY CONLOGUE Sandy Conlogue is inspired by the spirit of place. Her passion is to explore and share her experiences of places that are very special to her. It could be as near as her garden or a local beach or as far as Acadia National Park, Bar Harbor, New York City, the Southwest, France, or Italy. Conlogue’s medium is acrylic paint, with which she depicts landscapes, seascapes, streetscapes, interiors, and still lifes. She loves bold colors and deep texture. She likes to begin with a strong red underpainting that will partly show through in the finished painting. She sketches her composition directly onto this unique underpainting with a burnt sienna paint and then adds her vivid reds, oranges, greens, yellows, and blues.

Lily Pads, acrylics on canvas, 30” x 30” | sandyconlogue.com

WILLIAM CROSBY William Crosby’s paintings are a confluence of the real and the abstract. Accomplished in the studio after firsthand experiences in the natural environment, they are expressionistic impressions of the landscapes of coastal Maine, Katahdin, Cape Cod, the Low Country of South Carolina, the Adirondacks, and Alaska. Open to interpretation, bold brushstrokes of energetic and spontaneous compositions play against open and understated areas. Working in various sizes, including triptych, several canvases are painted at one time, providing a fresh and varied approach to a composition. Crosby is a retired professor of art and an active painter and photographer.

Morning Moods, acrylic on canvas, 48” x 36” Portland Art Gallery | Portland | portlandartgallery.com Harbor Square Gallery | Rockland | harborsquaregallery.com wmc-art.com

TINA INGRAHAM Tina Ingraham has been painting for more than 40 years. Her series include Women in Places (1986–2010), The Transformative Object (1997–2004), and Dune Evolution (2010–2017). She has had solo shows in Germany, Italy, and New York City as well as in Portland. Ingraham received a BS in design from University of Cincinnati and an MFA in painting from Brooklyn College of the City University of New York, where she received the Charles Shaw Memorial Award for Scholarship and Art. She has taught at Bowdoin College, Maine College of Art, International School of Art in Italy, Brooklyn College of CUNY, and Stephens College in Columbia, Missouri. She has received grants and fellowships from the Maine Arts Commission and the Guggenheim, Pollock-Krasner, and Sally and Milton Avery Arts foundations. Now working from her studio in Bath, Ingraham paints from life, focusing on figures and still lifes and the working waterfronts, beaches, and wooded landscapes in the midcoast. She often revisits sites to paint them at different tides, times of day, and seasons. Using a warm tonal palette, she translates each motif—whether a bowl of Rainier cherries or a rooftop view of Munjoy Hill—building a tactile surface on the painting.

Looking West in Winter, oil on wood, 11” x 24” | Greenhut Galleries | Portland | greenhutgalleries.com , tinaingraham.com

BETHANY HARPER WILLIAMS It’s been over 30 years since Bethany Harper Williams first started spending her summers in Maine, and she continues to be awestruck by the beauty around her. She is especially inspired by the beach—both the calm and energy of the water and the playground it provides to create lasting memories. These memories are unique to each of us but also common to so many. Williams’s work explores this connectivity to collective emotion, questioning what we see, what we remember, and the emotions these evoke. By taking the landscape and simplifying it, her aim is to capture a memory without the details of representation. The expanse of nature, be it the sky, beach, or water, provides an opportunity to abstract the elements through expressive brushstrokes, subtle textures, and simple forms. Layers of unexpected shapes, patterns, and colors create a visual composite of energy and calm, taking the viewer away from the reality of the image and triggering a personal memory, a moment in time. A low horizon line or the playful placement of simple figures brings context to the expressive composition of color and texture. The result is often playful, sometimes whimsical, and always memorable.

Barefoot and Free, oil on canvas, 25” x 25” Maine Art Hill | Kennebunk | maine-art.com

LIZ HOAG Maine artist Liz Hoag paints forests, paths, and open water. However, according to Hoag, she primarily paints “balance” and “calm.” We’ve all taken a photograph of a sunset over a lake and realized later, when we looked at the photo, that there had been branches in our view. We unwittingly erased them when we looked through the lens. But they’re there: part of the landscape that gives depth and frames the beauty. They could be considered an integral part of the beauty. When we walk in the woods, we think, “this is so peaceful,” and look around at the “quiet.” The light sifting through the trees, the colors of early morning or late afternoon, the cool blues and browns of the path all come together to give us that peace. At any time of day, even at midday with the bright light washing away some of the color, the natural balance of the trees and branches still creates calm. Paths, trees, branches, color, light, air, water— whether it’s looking up at trees in our suburban neighborhoods, driving down country highways, or walking trails to the lakes and sea, we have visual peace and quiet within reach. Hoag finds that calm and beauty and translates it into art.

Walk with Justine, acrylic on canvas, 40” x 30” Maine Art Hill | Kennebunk | maine-art.com

SUSAN DEGRANDPRE Susan deGrandpre discovers with every cut. She’s a direct carver. She shapes toward a sculpture that is not so clear at the beginning. She loves the feeling of freely moving and pounding toward an emerging figure. Her works are about what’s going on for her at the time. Gouges, mallets, stones, and strops—hand-carving tools are satisfying to her. Each of piece is alive, although no longer in tree form. Each piece of wood has its own requirements, and deGrandpre explores slowly. There is a turning point when her hands know what to do without thinking. She shapes by feeling. Her sculptures are meant to be big, soothing stones. People pick them up and caress them. People don’t need vision to see her work.

Harbor Seal, spalted birchwood, 7” x 13” x 6” Rachel Walls Fine Art | Cape Elizabeth | rachelwallsfineart.com , susandegrandpre.blogspot.com

REBECCA KINKEAD Rebecca Kinkead’s paintings are based on memories, both personal and borrowed. They are an attempt to explore a collective human experience. Details and features remain ambiguous, inviting the viewer to seek something of themselves in the work. The figure (human and animal) has provided a generous vehicle for color, form, and surface to evolve. Paint and wax are layered, dripped, and scraped to create a sense that the subject is still emerging, still becoming.

Swim Team (White Caps), oil and wax on linen, 54” x 68” Maine Art Hill | Kennebunk | maine-art.com

JESSICA BEER Artist Jessica Beer is inspired by the water, drawing her influences from the crashing ocean waves and the cold mountain streams that wind narrowly through steep and rocky terrains. The Kennebec River begins its journey in western Maine, quickly coiling through the rough and rugged mountains, meandering through abundant farmlands, and eventually making its way to the coast, where it exits the mainland from Merrymeeting Bay and joins the Atlantic Ocean. River Right is the first in a series of three paintings that tells the story of the Kennebec River as it makes its 170-mile journey through Maine.

River Right, mixed media on canvas, 30” x 30”  cargocollective.com /jessicabeer

AMY LOWRY In January of 2014, a late delivery of fuel shut down the furnace at Elmwood Farm, Amy Lowry’s 200-year-old farmhouse in Camden. The pipes froze, then burst with a fury, soaking the contents and devastating the structure. Her home was soon stripped to its core, leaving little more than a shell of raw studs, windows, and earth. Lowry salvaged what boards she could. Her house had been built using premium wood milled from the King Pine trees that circled the property. Their patina and history fascinated her. She hung them in her studio while she worked on other projects. “There was an ‘aha’ moment later that summer when I began to see images submerged in the chips and scars of the drowned wood: horizons emerged that referenced water,” Lowry says. She highlighted the boards with chalk paint and soon discovered stories within their layers. The resulting series became Red Right Returning, which is a nautical term that signals a safe course into harbor, marked by red buoys. These are narrative landscapes in which the focal point constantly shifts as the protagonist attempts to find refuge from the turmoil that is her life. She battles riptides, fights currents, and even drowns more than once in her quest for safety. Windows offer views but are locked tight; chairs sit vacant on a strange beach, awaiting occupation. “I too was in rough seas, searching for safe harbor,” she says. “I made a decision to live in Maine year- round. I paint full-time and am grateful to be part of Maine’s stellar creative community.”

She Noticed That the Sands Had Shifted, chalk paint on board, 12” x 18” Dowling Walsh Gallery | Rockland | dowlingwalsh.com ,  amylowry.com

ANNE HEYWOOD Anne Heywood is an American realist known for modern and traditional landscapes and still lifes. Her work is appreciated for its subtle yet expressive moods, reflecting Heywood’s New England roots as well as the 12 years she lived in Naples, Italy. Heywood’s subjects ultimately become symbols, while compositions may be rendered “as found,” completely imagined, or a combination of both. “I strive to entice the viewer to go beyond what is seen, to what is felt,” says Heywood. Ultimately, her work is thought provoking and contains more than what a casual glance may first suggest.

Wave, pastel on archival paper, 17” x 171⁄2” | Portland Art Gallery | Portland | portlandartgallery.com , anneheywood.com

JEAN JACK The open road reveals images for artist Jean Jack. She sets out with her camera, and an adventurous frame of mind and crisscrosses the country. Often, it is on the fast-moving interstate where she discovers, quite by accident, the perfect simplicity of a farmhouse or a barn. Jack is not interested in the details as much as the abstractions—the way the afternoon sun falls off a slanting roof or how tall, forsaken grass cradles an old structure or a set of stairs that once led to a seaside path now leads nowhere at all. The challenge is to catch the image with her camera from an inconvenient, backstage angle. America’s heartland influences the bulk of her work; she finds that utilitarian structures that have a weathered history are a more hauntingly lonely expression than the congestion of suburban or city life. Shapes occurring by circumstance intrigue her far more than deliberate artifice.

Wishful Thinking, oil on canvas, 48” x 48” Portland Art Gallery | Portland | portlandartgallery.com ,  jeanjack.com

JAMES TAYLOR James Taylor’s prints are dreamlike, mysterious, and open to interpretation—like cloud watching. Each print tells a story. His inspiration comes from travel experiences, literature, nature, and people. For Taylor, making a monoprint is a joyful process. Layers of images, chine-collé with handmade papers, and ink or paint create a final image that is rich in textures and tones. These monoprints offer an opportunity to view the ordinary or familiar with a change in perception.

Jamie Boy, monoprint, 22” x 15” jamesbtaylor.com

SHELLEY BRETON Shelley Breton is a self-taught artist who has been painting in and studying oils for over nine years. She has taken advantage of professional workshops and classes to supplement her independent study. She is especially drawn to the effects of early and late-day light on the pristine beauty of Maine as well as figurative work in the landscape. Breton is a member of Oil Painters of America and has won several local and national awards for her work.

Maelstrom, oil on panel, 12” x 16” shelleybreton.com

C.R. BRYANT For more than 65 years C.R. (Bob) Bryant has followed a lifelong journey to perfect his ability as a portrait painter and maritime artist. Born in the eye of a hurricane in central Florida, he created his first painting at age five. Working primarily with traditional oils on linen, using techniques of the old masters learned over many years of study, he has become a master of realism. He has also perfected the rare and unusual technique of painting on copper, revered by early Dutch and Flemish painters as the perfect ground for oils. Known for his ability to paint water, Bryant also has a working knowledge of sailing ships, and today he is recognized as a leading international marine artist. Relocating to New England in 2018, he will continue to focus on preserving marine history, but classic sailing yachts remain his passion. A key aspect of his work involves the human figure and portraits, which are seldom included in maritime paintings but frequently the subject of his work. His paintings of classic sailing yachts include small yet recognizable portraits of the crew and owners. His is a core artist at the Maritime Gallery at Mystic Seaport and a cofounder and senior fellow at the Pacific Rim Institute of Marine Artists.

Schooner Vera, oil on linen, 48” x 36” Mast Cove Gallery | Kennebunkport | mastcove.com ,  crbryant.com

MATTHEW RUSS Anyone who has a favorite place or favorite view knows that it can look or “feel” different from day to day—even from hour to hour. Countless factors, from changing weather to our own changing moods, can influence our perception. As a plein air painter, Matthew Russ is interested in this elusive quality of the landscape. Although it is common to hear of an artist “capturing” a scene, Russ never presumes to do so. He is content with the chase. Russ always works on-site, welcoming changes as they come and completing each painting in a single session. He then returns multiple times to the same location, developing a series of paintings for each. The different versions in a series underscore the transience of the landscape, which to his mind reveals its true beauty.

Richmond Island from the Northeast #5, oil on canvas, 36” x 36” Portland Art Gallery | Portland portlandartgallery.com | matthewruss.com

TOM FERRERO As a metal artist and painter, Tom Ferrero centers his practice on sculptural jewelry objects built from silver, gold, copper, and precious gemstones as well as figurative and landscape paintings that have a strong connection to Maine. Metalworking blends his obsession for detail with a versatile material and fascinating technical process. It supports his love of two-dimensional design while providing a vehicle to bring those ideas into a three-dimensional realm. The separate components of a work should capture one’s attention yet not detract from the overall form. Ferrero hopes to create objects that transcend him to become a physical symbol for the creative spirit and a stimulus for imagination. His paintings feature subjects that bridge a division, that are in a state of flux or have unclear boundaries—subjects on the precipice of change or caught in a moment of action. Mystery, drama, and contrast are motivators for this work. He tries to create a push-pull effect, establish a sense of curiosity, and solicit a feeling of wonder. Ferrero’s work has a clear link to Maine, depicting local landscapes and interior spaces populated by friends and colleagues and typically punctuated with bold areas of light and dark values.

Collar of the Chancellor, silver and steel, 17” diameter tomferrerostudio.com

DIANE LEONARD Diane Leonard is a contemporary impressionistic painter whose work has been shown all over the world. Born in Boston, she has been painting for over 40 years. “Late afternoon is my favorite time to paint,” she says. “Whether I am on the beach or painting in my garden, capturing that beautiful, golden light with colors that are enhanced by the warm sun is truly enticing.” Leonard dances when she paints, letting the music guide her heart to create the magic that she feels in her soul. Her impressionistic style has evolved over the years, and she uses a variety of brushes, utensils, and even her fingers to get the paint on the canvas. Her passion to create paintings that make people feel joy and happiness keeps her growing as a painter. Presently, she is working on a video series that teaches people innovative ways of creating art and discovering their creative genius. Her new series, Coming Home, is an endeavor to produce paintings and giclees to honor the military personnel who have served our country. Proceeds from the sales of this series will benefit Disabled American Veterans.

Summer Sails, oil on linen, 24” x 24” The Wright Gallery | Cape Porpoise | thewrightgallery.com, dianeleonard.com

LIZ ARMSTRONG Liz Armstrong’s work falls into a space between realism and graphic interpretation. Her forms are recognizable but have been put through her particular artistic filter. Armstrong’s filter is informed by her early drawing training as well as an extensive background in graphic design. Armstrong is intrigued by color interaction, the use of layered complementary colors to create vibrancy, light study, and how edges of natural elements relate to each other. Emotionally, Armstrong offers the viewer a moment of serenity in a specific place and time of day.

Crow Island, oil on canvas, 16” x 20” lizarmstrongpainting.com

AMELIA QUALTERS Amelia Qualters is an artist, explorer, and visual storyteller. She has created a series of self-portraits, photographing herself in worlds that walk the line between reality and imagination. These images explore her deepest thoughts and feelings from childhood to the present day. Qualters’s artwork comes from a place of personal exploration to find her place in life. Her images expose her deepest thoughts of struggle and happiness in a fairytale-like setting. She hopes to show others that there is beauty in imagination and encourage them to be confident in themselves.

Down the Rabbit Hole,photography, 13” x 19” ameliaqualters.com

IRENE HARDWICKE OLIVIERI Irene Hardwicke Olivieri paints about love and relationships and obsessions—parts of life that are often subterranean. Her work explores transformations, where an undeniable need for change is both exciting and enlightening. An ongoing theme in her work is rewilding the heart to inspire deeper connections to wild animals and wild lands. She lives in the Marshall Point Lighthouse lighthouse- keeper’s cottage in Port Clyde and is deeply inspired by living on the edge of the sea, which is full of metaphor and wild beauty.

Unexpected Odyssey, oil on panel, 46” x 60”  irenehardwickeolivieri.com

ELIZABETH PALMER Elizabeth Palmer is a self-taught watercolor artist who occasionally uses acrylics. She paints landscapes and still lifes predominantly, but she will paint anything that catches her fancy, especially if it involves reflections or dramatic lighting. She uses vivid color and intricate design to capture a likeness or evoke a strong emotion. She seeks to elevate even a most ordinary object to the level of the extraordinary through an interplay of colors, or shadow and light. “I want the viewer to see, as I do, that beauty surrounds us at all times,” says Palmer. Her paintings are in private collections throughout the United States, and a giclee print of Kayaks hangs in Children’s Hospital of Boston. She is also a member of the Saltwater Artists Gallery in New Harbor and exhibits at River Arts in Damariscotta and the Boothbay Region Art Foundation.

The Olad, watercolor, 16” x 20” Ingram Antiques and Art | Wiscasset | ingramantiques.com  Ironbound Gallery | Camden | ironboundgallery.com

WHITNEY HEAVEY Living near New England’s wonderfully diverse coast, Whitney Heavey strives to create paintings that reflect those stunning colors that pop up quickly as well as the emotions that they inspire. As a child, her grandmother, also an artist, took Heavey for beach walks where she taught her to experience and notice nature. In her studio, Heavey is able to paint large and expressive oil paintings while experimenting with the emotional impact of light, color, and application of paint. In addition to photos, sketches, and writings, she also uses videos in order to return to the moment in time that initially inspired her. She strives to paint the landscape as it made her feel, not necessarily how it looked. Heavey’s focus is primarily on her muse: the ocean and its coast. She wants to bring the viewer to a place in their own memory when they felt strength, relief, calm, joy, introspection, or peace.

Devotion, oil on panel, 24” x 30” Portland Art Gallery | Portland | portlandartgallery.com , whitneyheavey.com

SUSAN PARISH ADAM Susan Parish Adam sees the world around her in two dimensions made of shapes and colors. Living on the neck at the end of a large peninsula, she has painted the same scenes countless times, never tiring of them. Her inspiration comes from her daily walks and classic summer activities. She enjoys painting, from photographs, very specific people and places in a nonspecific way. Adam’s style and attention to detail changes much like the color and light of the various seasons. From portraiture to minimalism, her work is a journey, and she’s grateful to be along for the ride. Having spent her first 30 years as a summer resident of Castine, Adam has always felt pulled to the area. For the past 20 years, she and her husband, also a painter, have lived there full-time and run a seasonal gallery. Having traveled and painted extensively, they prefer the peaceful daily routine of life on the quiet peninsula.

Yacht Club Dinner, oil on canvas, 30” x 40”Adam Gallery | Castine | adamgalleryonline.com

CRAIG MOONEY Craig Mooney makes paintings of dramatic moments and heightened emotionality that are known for being expansive and expressive. Although he is a representational painter, Mooney incorporates myriad of abstract qualities throughout his paintings. In his figurative work, Mooney romanticizes his subjects and presents them in an atmospheric lens that is best described as dreamlike. His paintings appear to be capturing a moment suspended in time. While his work feels familiar, it is not specific. All paintings are the product of his imagination. Born and raised in the heart of midtown Manhattan, Mooney traces his roots in art back to his youth. His father, a physician and amateur artist, taught him how to create oil paintings from discarded art supplies found on the city streets. To Mooney, the city was an endless source of inspiration at an early age. Although he would later study art in school, he regards this early exposure as the truest form of training he ever received. From attending sleep away camp in the ’70s to exploring the state as an artist, Mooney has always found Maine to be a source of inspiration. Today, Mooney devotes himself full-time to his art and is represented in galleries throughout the United States and the United Kingdom.

Island Sky, oil on canvas, 40” x 60” Maine Art Hill | Kennebunk | maine-art.com

ANDRE BENOIT Andre Benoit’s intent as a abstract assemblist sculptor is to represent the human form and iconic motifs with repurposed wooden remnants. The components of his constructs are from myriad sources and environments in which the workmanship of hand or machine and exposure to the outdoors or ocean has created contours and patina respectively. These features catch the eye and entertain and maintain the interest of the viewer, as often do the stories of the artist’s acquisition of the requisite wooden material. Benoit’s use of pigment is sparing to prevent it from dominating the overall impression and so as not to obscure the beauty of the surface of the wood. He embraces the concept of wabi- sabi with his intentional use of asymmetry and a somewhat unfinished appearance to capture the spontaneity and enhance the overall impression of his work.

Resting on Oars, wooden assemblage, 42” x 17” x 4” Hopkins Wharf Gallery | North Haven | 207.867.4444 Tidemark Gallery | Waldoboro | 207.832.5109 andrebenoit-art.com

ROBIN SWENNES Robin Swennes is an artist who enjoys pushing color boundaries and expanding her work to include more than one style of painting and many different collections. Her paintings ride the fence between realistic and impressionistic. Her goal is not to recreate an exact, tight, photographic scene, because she believes that paintings should be more relaxing to the eye. Her mood and what she sees around her serves as inspiration for upcoming pieces. She continually applies her creative energies toward other design avenues; she recently designed a house and some furniture for it. Swennes believes that true artists are born with some innate ability that can be expanded and put to use in a broad range of scenarios, whatever the chosen media. She recommends that, when you see a piece you like, you should buy it.

Getting the Cold Shoulder, acrylic on wood, 14” x 14” Casco Bay Artisans | Portland | cascobayartisans.com Couleur Collection | Falmouth | couleurcollection.com , designchoc.com

WILLA VENNEMA Willa Vennema has been painting the Maine landscape both on-site and from memory for over 30 years. Her muse is the waters, trees, islands, rocks, boats, and shoreline of Swans Island, where she has summered all her life. For most of her painting life, she has used wax-based media, most recently the newly revitalized encaustic medium, which is a mix of beeswax, damar crystals, and pigment. To create her semi-abstract works, Vennema uses a variety of materials such as bait bags, lace doilies, and twine to imprint pattens in the encaustic paint. When these materials are removed, mysterious multilayered backgrounds are revealed. She paints in series format and may explore a theme for many years, as with the Boat series, which features the iconic wooden dories still seen along the Maine coast, and the Island and Ocean series, which has been ongoing for over 20 years. During the summer months, Vennema soaks up the stunning beauty of coastal Maine along the waterways of Merchant Row, Jericho Bay, and Blue Hill Bay. Back in her Portland studio when the weather cools, she pays homage to Maine’s natural beauty.

Safe Harbor with Moon Light, encaustic on panel, 36” x 48” Portland Art Gallery | Portland portlandartgallery.com  Harbor Square Gallery | Rockland | harborsquaregallery.com , willavennema.com

SARAH KNOCK Sarah Knock’s interpretations of water reflections are based on a strong interest in patterns, color relationships, and gesture. Her inspiration comes from excursions in her sea kayak along the Maine coast and from seeing reflections while traveling to other parts of the world. Being close to the water’s surface facilitates a unique perspective. She paints indirectly, building up many thin areas of paint and incorporating the process of drawing and redrawing on the canvas, leaving some of these vestiges in the final stage. Knock’s paintings generally take several months to complete. The idea and reality of the inevitability of passing time is omnipresent in her process.

Approaching Goose Island Dock, oil on canvas, 12” x 22” Greenhut Galleries | Portland | greenhutgalleries.com

ANN SKLAR Ann Sklar takes photographs of landscapes with both distant and nearby perspectives and refers to them often for ideas and inspiration. “Paying close attention to the details and nuances of the landscape is possibly the most important thing I have learned as an artist,” she says. “It has given me an increased appreciation for our ever-changing world.” Sklar has been thinking about the universal qualities of landscapes, those common characteristics that make one feel like they “know” the place and that it speaks to them of something deep and complex, something familiar and yet mysterious. She is interested in the lines, the shapes, and the color variations that repeat in nature and cause an intense personal response, sometimes conscious, sometimes not, but that when painted evoke a strong emotional connection with the viewer.

Emerging, oil on canvas, 24” x 24” Portland Art Gallery | Portland | portlandartgallery.com  The Kelpie Gallery | South Thomaston | thekelpiegallery.com ,  annsklar.com

DOUG CAVES Doug Caves attended the fine arts program at Mount Wachusett Community College (MWCC), studying art history, painting, drawing, and sculpture and received the school’s Annual Purchase Award for his bronze sculpture Head of Joy in his last year of attendance. He has studied painting and drawing at the Worcester Art Museum and creative writing at Clark University. These days he paints frequently along the southern Maine coast and in the rural hills of central Massachusetts, finishing his larger works in his studio. He currently offers classes and workhops in landscape and still life painting through various educational venues. “I want to make paintings that explore the rich play of light and texture across the New England landscape,” says Caves, “building my canvases in layers of colors that allow for a variety of subtle shifts in mood depending on the light, evoking an essential emotion that draws you in, and offers you a reason to pause.”

Parsons Beach Road #2, acrylic on canvas, 16” x 20” Portland Art Gallery | Portland | portlandartgallery.com ,  dhcaves.com

HELEN LEWIS Helen Lewis works predominantly with encaustic and cold wax with oil. “Weathered aging brick, peeling paint, and lichen on rocks are intriguing to me,” she says. “I am fascinated with texture, patina, old script, and ephemera that speak of the passage of time.” These elements frequently inspire the layers and marks within her paintings. “My creative process is an extension of my contemplative nature,” Lewis says. “When I paint, there is a stillness and focus that comes. It is out of that place that I create.” Typically, she has an initial plan when starting a painting, but then works to “follow the intuitive nudges within my spirit as patterns form in the wax and pigments react to the blowtorch. I particularly love the luminous qualities and depth that emerge. In essence, I am invited deeper, and I seek to reflect that invitation through the layers of my art.” Ultimately, a quality of peace and serenity are what she most wants to convey in her work. Although a resident of Ohio, Lewis has been coming to coastal Maine on a regular basis for over 35 years. “I feel Maine pull at my heart all the time,” says Lewis. “It’s such a special place.”

Letters from Home, encaustic on panel, 36” x 36” Portland Art Gallery | Portland | portlandartgallery.com , helenlewisart.com

ERIC HOPKINS With the eyes of an artist, the words of a poet, and the mind of a scientist, Eric Hopkins has engaged numerous people through his art and with his thoughts about life on this “big blue planet.” He captures the dynamic forces and rhythms of nature in watercolors, oils, blown glass, mixed media, and photography. His vision focuses on the big picture of the natural world, geological and geographical forms, and the exchange of energy between earth, water, and sky. From this intimate study of nature, he has developed a keen awareness of light, form, color, and pattern, which is reflected in all of his work.

Magenta Islands and Water, ink and watercolor on paper, 31” x 39” Portland Art Gallery | Portland | portlandartgallery.com

YEGOR MALINOVSKII Yegor Malinovskii was born in Ukraine and raised there until age 19. After living in Texas and Colorado, he made Maine his home in 2008. His fine art photography primarily features Maine landscapes, but he also travels the globe whenever possible, seeking that perfect light and the most unique views. He seeks out compositions that are emotional, dramatic, and yet very personal. When not shooting, Malinovskii spends his days working in the car business, contributing to the local community, and raising three children with his wife, Krystal. “I live my life full of passion and appreciation for my amazing family, adventure, and photography,” he says. Photography allows him to visit some of the most beautiful places in the world and connect with nature in its purest form.

Truly Madly Deeply, photography, available in various sizes yegormalinovskii.com

KRISTINE BIEGEL Artist Kristine Biegel finds inspiration in the natural beauty, the landscapes, and the people of New England. Her work, self- described as “Whimsical Maine Art,” offers imagery that includes a wide variety of rich colors, layered textures, and playful compositions. Unbound by realism, Biegel creates landscapes that evoke feelings of quiet contentment—she likes to say that viewers must be able to breathe through her artwork. With a background in printmaking, Biegel has developed a unique method of preparing her canvases allows her to create strong outlines and graphic qualities that she builds upon, layer by layer, often playing with what is realistic and joyful in her colors and textures. Biegel’s works are meant to honor and celebrate the amazing state we all share.

One Love—Blue Door, acrylic on canvas, 16” x 20” kristinebiegelart.com

ANDREA TIMM Andrea Timm believes we are all creative beings no matter what the process, materials, or avenue we have chosen. One of her outlets just happens to be painting. She is drawn to light, luminosity, and the contrast brought on by the light source. In just a matter of seconds, light can transform a figure or a landscape from ordinary to magical. Watercolor and encaustic painting are both complex, challenging, and unpredictable mediums. To her, they’re also surprising, captivating, and rewarding styles of painting. The layering of both watercolor and encaustic is what she loves most, figuring out the next step to achieve depth and contrast. She is especially drawn to water—the movement, the stillness, the calming effect, and the “wow factor” it demonstrates in all its different forms. With watercolor she leaves the white of the paper and builds contrast with translucent layers. Encaustic not only allows Timm to build many layers and create texture but also to embed unique and unexpected objects into the painting for all to explore. Timm’s intention with painting is to capture, remind us of, and bring more beauty into our lives, our homes, our work spaces, and our surroundings.

Before Us, encaustic on birch panel, 8” x 8”  andreatimm.com

NEILEY HARRIS Neiley Harris is a wife, a mother, an animal lover, and an admirer of nature. As an artist for more than 20 years, she strives to convey her passion and personality through her work. Harris loves to explore Maine in order to find inspiration—her focus is to create art that showcases the beauty surrounding her, as well as unique things that she finds fascinating. Although she is quite serious about her art, she is also aware of the need for humor in everything. Whether through color, subject, or title, she would like to the reach the child in all of us. Every time Harris stands at the easel, she paints with a hope of making someone smile.

Golden Years, oil on canvas, 36” x 60”  neileyharris.com

THOMAS ADKINS Thomas Adkins’s paintings spring from a lifelong fascination with the outdoors. This fascination, present even in his earliest memories, has greatly influenced his personal, academic, and professional pursuits and, most significant, his artwork. The moods, mystery, and atmosphere along with the inherent design of nature intrigue Adkins, and he seeks to unveil and express those qualities in his paintings, trying to document a specific place and time. What he is looking for is very elusive: that play of light, form, and luminosity, the essence of a particular location. His paintings are characterized by the process of composition using natural and manmade elements to evoke a true sense of place. They are subtle in color and strong in mood. Adkins’s list of awards and honors include first place in Lyme Art Association’s 2016 New England Landscape Invitational, the People’s Choice Award in the association’s New England Landscape 2017 exhibition, and the 2015 People’s Choice Award from the prestigious New Britain Museum of American Art, where he has a painting in the permanent collection.

Below Zero, New Harbor, oil on linen, 30” x 40” Bayview Gallery | Brunswick | bayviewgallery.com , thomasadkinsfineart.com

MARIEL DUYM Things come into being and pass away, leaving only memories behind, and Mariel Duym’s work as an artist is the work of distilling the essence of this ephemeral process into images, which evoke such becoming-and-departing. The making of these pieces is a resolution to her own internal tensions, she says; her mind is often drawn toward the here-and-now of places and people she knows, but on the heels of this pull, just a shadow’s width behind, always follows a mute chorus of the past, its silent voice crying out for inclusion. To appease both urges—to represent the past and the present together—she creates mixed-media landscapes that, in combining the abstract with the naturalistic, look to evoke temporal and spatial depth from the flat surface of a canvas. Duym uses solvents to distort magazines and adds subsequent layers of glazed acrylics to achieve the final composition.

Awakening, collage and acrylic on canvas, 24” x 12” marielduym.com

JEAN KIGEL Several years ago, Jean Kigel developed a style of painting that she likes to call geometric-realism. In this style, somewhat reminiscent of color-field paintings, Kigel first transforms landscapes, seascapes, and villages into shapes, then adds recognizable details. Multiple muses, including Maine’s barrens, pines, coves, and cliffs, impassion her. Each painting becomes a testament to the emotional power that the muse holds for Kigel as an artist.

Islands in the Bay, oil on canvas, 15” x 30” | Portland Art Gallery | Portland | portlandartgallery.com ,   jeankigel.com

SUSAN BARNES How we see and remember places we have visited has been Susan Barnes’s focus over the years. By combining photographic elements with oil painting, she seems to give a closer representation of the process of looking. The camera, the segmented snapshot, is often a part of how we remember. Memories of other places we have seen in the past influence what we see in the present. In this way, her paintings are about many places, many times.

Tree Island, oil and photo media on wood panel, 48” x 36” Greenhut Galleries | Portland | greenhutgalleries.com , susanbarnesart.com

JACQUES VESERY The threads that keep us connected to varied layers in life link Jacques Vesery to his work. “Born under the sign of Aquarius, I am always a part of water, sea, and ocean,” he says. “I have lived above and below the waves that couple me to the spirit in what I create, and there is a vertical line binding sea and sky to my subconscious.” The subconscious is where he stores things that are second nature—color, balance, proportion, attention to detail, and numbers, which are the glue holding all this together. He sees threads everywhere with magnified detail. As Deborah Weisgall wrote in Maine magazine in September 2010: “Jacques Vesery’s objects exist somewhere between utility and fantasy, between the real world and a place where wonder is the purpose of all things. Turner and carver. Sculptor and painter. Craftsman and artist. What Vesery is fits no definition. What he does is this: he fashions wood into tangible marvels, luminous containers for his spirit.” Nightshades on the Farm (from the Saltwater Farm series), turned/carved/ textured maple, oak, acrylics, oxidized silver leaf, iron, 16” x 10” x 8”

Maine Art Hill | Kennebunk | maine-art.com  CRAFT Gallery | Rockland | craftonelm.com,  jacquesvesery.com

JEFF BYE Artist Jeff Bye’s current body of work focuses on capturing the gritty history of the past. His attention gravitates toward older buildings and businesses that have history in their communities and a unique sense of character special to their area. These are often places that Bye has lived in or visited for long periods of time. Sometimes the buildings have been abandoned for decades. Exploring and capturing these spaces has always been exciting and interesting for Bye, and it translates into his work. He is particularly interested in how surfaces patina and change, radiating beautiful rays of color and texture. Spaces that have been abandoned reveal a mood—sometimes it’s a silence and still presence, other times it’s mysterious and ominous—usually, this depends on how natural light filters through these spaces, often creating a new dynamic at different times of day. Bye’s eye is not limited to older factory buildings, theaters, and hotels; he extends this same vision to small- scale mom-and-pop businesses too. Bye’s greatest challenge is to witness and capture these places before they disappear.

Harbor Fish Market, oil on linen, 25” x 48” | Greenhut Galleries | Portland | greenhutgalleries.com ,  jeffbye.com

ALISON GOODWIN Alison Goodwin’s iridescent, bold, and vibrant paintings have delivered a playful exuberance and deep reverence to the Maine art world for 30 years. Having grown up on the southern Maine coast and now living in Portland and Rockland, Goodwin is influenced by Hundertwasser, Klimt, Matisse, and Calder. Consistently, her work is characterized by saturated, turbulent color and skewed perspectives in compositions of unruly landscapes, expressive interiors, and kinetic villages. Goodwin has also explored several iterations of fishermen-saints. Living among fishermen most of her life, she watches them work from her front porch or kayak. Her portraits canonize them as icons of Maine’s ragged bounty. Goodwin’s paintings show gratitude for the harvesters of the sea and their role in developing our relationship with the natural world. Each of her paintings is built on layers of patterns and geometric designs, which build to create larger constructive elements. Goodwin often explores these elements in graphic charcoal drawings and abstract paintings that amplify these characteristics. Her abstract work thus builds new forms that transfer to successive cycles of paintings.

Ragged Bounty, acrylic paint, oil bar, and oil pastel on wood panel, 24” x 24” Greenhut Galleries | Portland | greenhutgalleries.me

KATHLEEN GALLIGAN Kathleen Galligan has been painting representational landscapes for over 30 years, but lately she has been distancing herself from directly connecting to the subject. When the subject is a landscape grounded in realism, Galligan prefers to work from memory, creating imagined spaces, with a few exceptions. By doing so, she is simultaneously freeing herself to explore abstraction and to create new challenges to confront, all while remaining tethered to her informed sense of the natural world.

Spring Thaw, oil on canvas, 12” x 12” Greenhut Galleries | Portland greenhutgalleries.com   Littlefield Gallery | Winter Harbor | littlefieldgallery.com , kathleengalligan.com

JULIE HOUCK As a contemporary landscape painter working with oils and encaustics, Julie Houck aspires to convey not only the scene but also the moment and mood—the moment is fleeting, but the painting allows us to live there a bit longer, to linger, to reflect, to contemplate, to enjoy. Houck is inspired by the interplay of light and landscape, which is elusive and ever changing. Painting allows Houck the opportunity to recreate a particularly special moment when land, light, and atmosphere seamlessly fuse. Reflecting a serendipitous moment in time can be, however, a deceivingly slow and deliberate process. The media she prefers, oils and encaustic, involve applying layers upon layers of paint. Every layer spontaneously changes the piece, evolving over time with a life of its own. This is the element of work that she finds most intriguing. Simultaneously, Houck’s work in oil is influenced by her early classical training, particularly the study of light on form. Each landscape is painted in transparent layers, sometimes up to 40 of them, in order to recreate the subtle play of light on landscape, as well as to control incremental changes in tonality.

Cloud Dance, oil on linen, 40” x 40” Maine Art Hill | Kennebunk | maine-art.com , juliehouck.com

NANCY MORGAN BARNES Painting directly from a source that is continuously in flux is one of Nancy Morgan Barnes’s favorite challenges. This particular painting was started at the Blue Hill Fair during the day, but changed as the pace and energy shifted from day to evening. Plein air painting places Barnes in the position of both participant and observer as she records the event. At a certain point, a painting takes on its own existence, becoming the subject matter that guides her.

Evening Fair, oil on canvas, 18” x 22” Greenhut Galleries | Portland | greenhutgalleries.com  G Watson Gallery | Stonington | gwatsongallery.com

MARTA SPENDOWSKA Marta Spendowska’s Wetland series comes directly from her heart. Her paintings are an extension cord to her yearly travels to Poland. The Baltic Sea is a place of transcending the past. It’s where Spendowska hangs out with her old self, revisiting topics of belonging and lost or gained time; the topics also touch on the parent–daughter relationship. There, Spendowska becomes a child again, visiting the sea that cured her oversensitive body and spirit when she needed it most. Spendowska now lives on the coast of New England, which has become her most cherished medicine. She says the wind, the sand, the water, the ocean—no matter how cold—are like a godmother: nourishing. Touches of gold on Spendowska’s paintings serve as an offering to the godmother, becoming a shimmer of eternal hope.

When Evening Overtakes the Air, acrylic, gold leaf, and varnish on panel, 30” x 24”   Maine Art Hill | Kennebunk | maine-art.com , verymarta.com

PETER WALLS Peter Walls’s work is the manifestation of the beauty and mystery he finds in his interactions with the natural world in midcoast Maine. Through the process of experimentation with pigments, found materials, color, and texture, his images are built to reveal a narrative of fish, birds, and other living organisms. These ethereal images are creations and composites of his many years of being involved with the decorative arts and his printmaking training. This series is a true marriage of his love of nature, sense of place, and his artistic background.

Allegra’s Menagerie—Soaring above Blueberry Fields, Sedgwick, mixed media on wood panel, 12” x 12” Local Color Gallery | Belfast | localcolorgallerymaine.com , walls-kuhn.com

REBECCA HAYES Ranging from scenes that reference the coast of Maine to the interiors of her childhood house, the subject matter of Rebecca Hayes’s work always seems to come back to her home in the Portland area. While she strives to create images with an authentically local perspective on this vacation destination, she doesn’t consider the actual scene depicted to be paramount when explaining the purpose of her work. Each subject she paints serves as a visual medium to explore various aspects of her personal painting style, which combines techniques from traditional realism with expressive, painterly sensibilities. This mixture of styles has been triggered by an overarching fascination with abstract nature of light and the way it inhabits a space. Through the use of photography as a reference, which she originally utilized to give herself the time to meticulously render detail, she has become intrigued by the patterns that emerge from light when it is forced to sit still, like in shadows and reflections. The environment of Hayes’s life in Maine, both outside and in, provides countless scenes for her to examine the way light influences pattern and color while she maintains a dedication to representational art.

Moulton Street, oil on canvas, 22” x 25” Casco Bay Artisans | Portland | cascobayartisans.com ,  rkhayes.net

OTTY MERRILL Otty Merrill’s artwork reflects her journey—physically, spiritually, and psychologically. Four decades of art making has given her the enjoyment and foundation that comes from exploring various media, but encaustic painting is her primary love. Her themes express her experiences, from childhood memories and relationships, to impressions from travel abroad, such as this painting inspired by a Tuscan breastplate. Otty uses photos and sentiment, color and texture, bold strokes and strong color, to create art that tells a story. Although she is surrounded by the magnificent landscape and light of the midcoast, her work is internal in nature, physically and visually. Working in encaustic wax necessitates this, as wax needs to be heated and worked with certain tools and equipment, like a hot griddle. Otty is inside her studio and inside her head during her art-making process. What she has discovered and finds most satisfying is that art is successful when it is genuinely personal. Whether drawn from within or without, it needs to be firsthand and honest. And the viewer gets it, almost every time. Otty has been living and making art in the Tenants Harbor and Portland area for many years.

Tuscan Pride, encaustic monoprint on paper, 14” x 14”  ottymerrillart.com

RANDY ECKARD Randy Eckard’s approach to watercolor painting is nontraditional, in that he tries to avoid the limitations and trappings of traditional watercolor techniques. Although traditional washes are an integral part of the painting process, he relies more on the layering of color with glazing and drybrush (color applied with a brush squeezed almost dry of moisture). Moving between wet and dry on the paper achieves a variety of complementary thick and thin surfaces, which allows for the luminous quality of watercolor with added depth of color and texture. Light plays an essential role in his subjects. It is as if the subtle or dramatic interplay of light and shadow become the subject more than the objects themselves. Light reveals the character, color, and texture of objects, whether manmade or natural. The alternation of lighted and shadowed planes produces powerful repeated patterns and can be an important element of design. The subjects or objects he chooses to paint have always been of paramount importance, especially with their tendency to come unexpectedly. Quiet, patient observation usually reveals the life of a subject, although frequently the focus of Eckard’s initial inspiration will change throughout the course of the painting. Painting titles often offer clues to the experience behind an inspiration.

Surrounded by Lace, watercolor on paper, 15” x 21” Randy Eckard Gallery | Blue Hill | randyeckardpaintings.com Richard Boyd Art Gallery | Peaks Island | richardboydartgallery.com

MARCIA CRUMLEY Artist Marcia Crumley’s paintings honor nature’s “sacred spaces,” celebrating the beauty we all stand to lose. She paints places unspoiled by human presence. Her paintings are inspired by real places, but she transforms them into something more universal through her use of expressive colors and simplified, rearranged shapes. By leaving flashes of the contrasting underpainting visible around the edges of trees and horizons, and throughout the sea and sky, Crumley draws the viewer’s eye into, and around,the landscape. Maine’s beauty has always transfixed her, and her recent move to Cape Elizabeth has led to a new focus on the shifting light, clouds, and weather of coastal Maine.

Beach Diagonals, acrylic on canvas, 16” x 16” marciacrumleyart.com

KATHI SMITH Artist Kathi Smith’s paintings reflect those places in which she finds herself lost in the act of observation. Smith’s current interest is in the role of the landscape and its development in the sense of one’s self and, when conjured through sensations, how powerful the visual memory of a place can be. She looks for narratives within the landscape and finds them in backyards, abandoned places, and in those in-between spaces that are often overlooked by most of us. Recently, Smith has been painting landscapes relevant to her own personal history, such as her family’s homestead in Nova Scotia, her hometown in western Maine, and Maine’s Great Cranberry Island. Smith finds familiarities in these places, where a particular light or color in the landscape will evoke a memory, which then becomes her subject. Many of Smith’s paintings are started from direct observation and are then brought to the studio, where she continues to work on them. Through this process, her art becomes a blend of both real and remembered worlds. She carries vivid childhood memories of a maritime world, some of which can be found in the underlying narratives of her paintings.

Islesford Dusk, oil on panel, 24” x 36” Greenhut Galleries | Portland | greenhutgalleries.com  George Marshall Store Gallery | York | georgemarshallstoregallery.com , kathijsmith.com

JOHN WHALLEY As an artist living on the Maine coast, John Whalley draws and paints still lifes and landscapes that tell his story from a less-visited viewpoint of life. Whalley’s artworks frequently have what he calls “orphaned items” as their subjects—these items fill the shelves of his studio and, he says, have come to reflect an aspect of what “Maine” means to him. A common theme in Whalley’s work is redemption: he saves items from trash bins, flea market tables, the ocean shore, and antique shops and gives new light to man-made objects bearing patinas and the marks of decades of use and abuse. Whalley sees the paradox of beauty found in the humble and broken. He believes in a truth behind the saying, “The best art is made from un-artful things.” To be able to take things regarded as refuse and to reveal their beauty, allowing them to tell their own stories and histories, is very meaningful for the artist. To take the thing that might be regarded as “unlovely” and show its own beauty and dignity is a higher good.

Round Brush, oil on panel, 233⁄4” x 16” Greenhut Galleries | Portland | greenhutgalleries.com , johnwhalley.com

MARGUERITE LAWLER When out on location, Marguerite Lawler likes to observe, to gather information, to organize, and to develop the foundations of her paintings through small studies in oil and gouache. Her subjects are the wooded and watery environments of Maine; her focus is the effect of light on the landscape.What most interests Lawler as a painter is studying the high contrast of shadows and the forms they create. She is not looking to paint the panoramic or infuse romantic sensibilities; rather, she looks to capture the austerity of a moment. In the studio, Lawler’s studies are translated into large oil paintings on panel. She relies on these studies, her visual memory, and her intuition to create representational pieces. Lawler’s visual experiences become the springboard for exploration and discovery, which evolves over time.

Underneath, oil on panel, 24” x 24” Elizabeth Moss Galleries | Falmouth | elizabethmossgalleries.com , margueritelawler.com

SUSAN BARTLETT RICE Susan Bartlett Rice is most inspired by the simplicity of her everyday life and the space it gives her to create. She’s drawn to the color and compositions she sees in the natural and man-made world and the change of seasons. In New England, if you don’t paint a summer, it’s gone until the next year. The weather, light, and palette constantly change, which keeps Rice on her toes. Waking up to a fresh snow and blue sky motivates her to paint as much as, if not more than, a summer day out on the water. Since change is inevitable, she also likes to capture places before they are gone or made different. She paints from the life she is leading here, seldom venturing far from home and never running out of inspiration. Rice’s Walpole studio has been open to the public since 2005, and in the past few years she has shifted from gallery representation to primarily selling her own work. She loves where she lives, and by painting life around her, she has made Maine intrinsic in all her work. Her hope is that her work captures her love for this Maine way of life that is fading but not yet forgotten.

Stacking Traps, oil on canvas, 24” x 24” susanbartlettrice.com

ANN TRAINOR DOMINGUE Ann Trainor Domingue’s background in graphic design provides an important foundation for her work. Designing strong compositions via on-site sketches and original photos provides the base information for her boldly designed acrylic paintings. These are further developed in sketchbooks with preliminary drawings, playful thumbnail sketches of possible designs, and loosely drawn ideas of how best to rearrange reality into more engaging compositions. Coastal imagery holds the strongest attraction and offers textures, colors, forms, and shapes to consider as input for her landscape structures and nature-inspired art pieces. Small shacks, unending patterns of weather, water and its effects on the landscape, and the hardworking lifestyle and relationships of the people living in fishing communities have each enriched her artistic reflections for many years. Weatherworn, strong, stalwart figures and structures are juxtaposed to reflect a sense of strength and optimism. Final artworks are imbued with a sense of joy—rich in familiar imagery, energetic color combinations, and surface textures that reinforce the complexity of nature and life, all interwoven with a hopeful optimistic, thoughtful spirit. Domingue is a Copley Artist at the Copley Society of Boston.

All in a Day’s Work, acrylic on canvas, 36” x 36” Portland Art Gallery | Portland | portlandartgallery.com Camden Falls Gallery | Camden | camdenfallsgallery.com George Marshall Store Gallery | York | georgemarshallstoregallery.com , anntrainordomingue.com

JANE DAHMEN Jane Dahmen’s recent paintings are inspired by her wanderings around the midcoast area of Maine. She feels deeply connected to this part of the world. “Walking in the woods, on the conservation lands near my home, and along the Damariscotta River, I see paintings everywhere,” Dahmen says. “The large-scale size of the paintings helps to create an environment for the viewer to enter.” Her ideas begin in the natural world, but once a work is underway, the paint itself on the flat surface takes on a life of its own, and the color, line, and surface texture evolve as she works.

From the Point, acrylic on panel, 53” x 32” Portland Art Gallery | Portland | portlandartgallery.com

JOSHUA ADAM Artist Joshua Adam was born and raised in Northern California. After college he spent time working in California as an artist, primarily–plein air. In 1999 Adam moved to Maine. Through his work, Adam tries to influence the observer into seeing the natural world in a different way—one that encourages someone to spend more time in reflection about our beautiful planet and our relation to it.

State of Maine, Castine, oil on canvas, 24” x 36” Adam Gallery | Castine | adamgalleryonline.com

KEVIN MIZNER Kevin Mizner is a self-taught artist who has been painting Maine and its people for over 40 years. For the past 10 years Mizner has been painting full-time at his home in Pittston. Everything he paints is from his own experiences, observations, and emotions. Mizner feels that authenticity and emotion in a painting cannot be conjured—they must be real. As a result of this belief, Mizner worked on a lobster boat in order to better experience and portray the sea. Mizner has hiked countless miles through the Maine woods, and along the shores, observing nature’s colors. He frequents old barns and walks through open fields to gain a better sense of Maine’s vast history. Seemingly, he can’t just paint a landscape or a seascape. To Mizner, they are portraits of old friends that he has come to know, understand, and love.

Morning on Monhegan, oil on canvas, 20” x 24” Bayview Gallery | Brunswick | bayviewgallery.com  Ironbound Gallery | Camden | ironboundgallery.com , kmizner.com

ALISON RECTOR Alison Rector, who is best known for her luminous paintings of interiors, has been inspired by Maine’s public libraries, in particular the Carnegie libraries. By the early twentieth century, a Carnegie library was often the most imposing structure in hundreds of small American communities. In this painting of the Patten Free Library in Bath, Rector’s adept use of light accentuates a lofty vaulted dome, lustrous oak panels, and a trio of windows overlooking the river. She invites the viewer to experience the space with reverence—the beauty of the stacks, the striking architectural features, and the simple joy of a quiet place to read.

The Bend in the River, oil on linen, 24” x 21” Greenhut Galleries | Portland | greenhutgalleries.com Courthouse Gallery Fine Art | Ellsworth | courthousegallery.com

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How To Paint A Sailboat: A Complete Guide

Last Updated by

Daniel Wade

June 15, 2022

Whether you’re new to owning a sailboat or not, you have likely put some thought into painting your boat yourself. It is important to keep your boat well painted as it can save you a lot of money in the long run. It can also save you a lot of money if you choose to paint your boat yourself.

Whether or not this is the first time you have painted your boat, you will still find this article useful. It has lots of tips and tricks for making sure you get the job done and get it done well. Hiring a professional may be easier, but there is a sense of pride and accomplishment in doing it yourself. If you use this article as a reference, you can’t go wrong.

Table of contents

Why is it important to paint your sailboat?

Painting your boat is not just an excuse to put some creative flair into your boat, it is an important process in keeping the boat safe. Safe from salt, safe from barnacles, and safe from damage. The paint acts as a vital protective layer, without it your boat will be vulnerable to all kinds of damage. If you have a wooden hull, this protective layer will keep the wood from rotting. It can also plug any minuscule holes that might allow sea life and salt to make its way into the body of the boat.

There is also, of course, the added benefit of having a boat that looks good . A boat is a point of pride and should be treated as such. Having a glossy looking boat is something to be proud of. Most boats are not painted far above the waterline, so it is even an opportunity to make your boat stand out. Some people also believe that painting a boat brings good luck. Unless of course, you paint it green, green is thought to bring bad luck. Whether or not you believe that is up to you.

What are the benefits of painting your boat yourself?

When it comes to painting your boat there are only two options. Hire a professional boat painting contractor, or bite the bullet and do it yourself. They both have their pros and cons, of course, but there is so much more to be gained by doing it yourself. First of all, painting your boat yourself is just as fun as it is difficult. Learning to paint is a valuable life skill that you won’t regret learning as early on in your sailing career as possible. If you can learn to paint your boat now, you will save yourself a small fortune in the long run.

Hiring a contractor is expensive, to say the least, it may be faster and easier overall, but the extra cost can make it simply not feasible. Or simply unappealing. If this is the first time you are painting your sailboat you will need to make a one-off purchase of all the equipment needed for prepping, painting, and finishing the boat. After these one-off purchases are out of the way, you will only need to buy paint and new rollers the next time. Even if you need to buy all the equipment brand new, it can be cheaper than hiring someone else to do the job for you.

How often do you need to paint your sailboat?

The general rule of thumb for painting your boat is that it will need bottom paint about once a year. This is when you will need to take the boat completely out of the water and give it a fresh new coat. If your boat spends all of its time in the water, it certainly needs painting at least once a year. The saltwater is so corrosive that you shouldn’t let your boat go without a fresh coat of bottom paint for more than 2 years. Even if your boat only spends half its time in the water, and the other half on land, you will find that its best to keep its coat topped up.

The top paint, or the above waterline paint, doesn’t need painting anywhere near as often. It isn’t in direct contact with the seawater so it simply isn’t going to get eroded down as much. The salty sea spray can still be damaging over time so this paint should be re-done every 3 years. It can be more or less frequent depending on use and personal preference. Some people like to do above waterline paint yearly, with the rest of their boat, but it isn’t necessary.

What are the best paints to use for your sailboat?

There are plenty of great brands of paint out there, in various colors and shades, so you won’t struggle for choice. There are some things you might want to look for in your paint . For example, you may have noticed that a lot of boats tend to have red hulls. This isn’t just a fashion statement, and while red is supposed to bring luck this isn’t the main reason either. The reason is that this red/orange paint is perfect for added protection along the bottom of your boat.

This red/orange paint is interestingly chosen because it is, of course, traditional; but mostly because of its copper. The copper is actually what gives the paint its red/orange color.

Copper is perfect for the bottom of your boat for several reasons. First, copper acts as a biocide. It stops worms from making their way into the hull if your boat is wooden. If it is metal or fiberglass, it still has the benefit of stopping barnacles and other sea life from attaching themselves deep into the hull of the boat. Copper is also strong enough to hold up to scraping.

Scraping is when you scrape barnacles and other sea life off the hull of your boat. Scraping is an important part of keeping your boat in good condition. It is important to check with the marina or port authority whether or not you are allowed to scrape. If you scrape without permission you may find yourself on the receiving end of a hefty fine. The reason is that they don’t want you introducing invasive species on to the marina floor. This is mostly a problem when you are coming from somewhere vastly foreign, not sailing from New York to Chicago for example.

How many coats of paint does a sailboat need?

When painting your boat it’s a good idea to think about how many coats of paint you are going to need. There is no exact number that is needed, it is mostly to do with how well protected your boat needs to be and how much time you have on your hands. Every coat takes time and attention to detail.

If you choose to do four coats of paint it is going to be time-consuming but very well protected. That being said, the minimum number of coats is two. One is not enough. If your boat only spends part of the time in the water, two to three coats are plenty.

If you are someone who lives on their boat full-time, or at least most of the time, you may want to do more coats. Three, maybe even four, might be ideal here. The reason is that first, your boat is going to experience way more wear and tear than one that is just an ocean part-timer. And second, taking out your boat (which is also your home) is a giant hassle. It is a tedious process, so doing it as infrequently as possible is probably in your best interest. More coats last longer. When you are sailing from place to place, finding somewhere to take your boat out of the water and perform this maintenance is inconvenient. You want to be doing it as little as possible.

What safety precautions do I need to take when painting my sailboat?

All paint can be toxic when inhaled. Even if it is “non-toxic” paint it is going to be harmful to your lungs. They aren’t meant to inhale anything but air, even non-toxic paint is going to be bad for them. This is why it is important to wear a face mask.

Your mask should be specifically for painting, not surgical masks or other cheap medial masks. They are not going to be strong enough, with a fine enough air filter. Whether you feel the need to wear eyewear is up to you during the painting process.

Before the painting begins, when you are scraping and sanding, it is a good idea to wear some goggles to keep debris and splinters out of your eyes. It is also a good idea to wear gloves. You don’t want to rough your hands up too much, they need protection from not only the paint but splinters and sharp pieces of metal.

Painting a boat can be dangerous work. Without taking the proper safety precautions you are putting yourself at unnecessary risk. This safety equipment costs just a few bucks and is equally important as any of the other tools needed to paint your boat.

What tools do I need to paint a boat?

There is more to painting your boat than just using paint and a brush . You will also need tough sandpaper , potentially an angle grinder or welder , paint, primer , brushes, paint rollers , paint thinner , and solvent. You will need to make sure you have all of these things before you start painting. You can pick any of these items up at a boating goods store.

It is a good idea to bring some buckets with you for filling with water, both for rinsing off your boat and your brushes. All of your safety equipment needs to be brought too.

If this is your first time painting your boat yourself, you may find you need to buy all of these things at once. That can be a lot to stomach when its all in one go, luckily, most of these tools and equipment can be reused. Besides, it is still going to be far cheaper than hiring someone to do it for you. All of this equipment is an investment in your boat.

How to paint a sailboat

Whether this is the first time you have painted your boat or not, you may find some of the tips in this next section useful. Painting your sailboat may be tricky at first, but over time you will get the hang of it. The problem with painting your boat is that it can be a very expensive mistake if you get it wrong.

It is important to read this guide carefully, take your time, and make sure you do the job properly. It may be slow going at first, speed will come over time. Once you have gathered all of your safety equipment and tools you are ready to get started.

The workspace

First of all, you need to ensure you have the right workspace. You cant paint your boat in the water so you are going to need to find somewhere to do your work. This is easy enough if you don’t live on your boat full time, take the boat to your house and do your painting on the driveway. If this isn’t an option because you don’t have space or live on your boat full time, you are going to need to rent somewhere. There are typically places affiliated with the marina that you can use. In some cases, these even come with a majority of the equipment you will need. This, of course, drums up the price a bit, but that’s unavoidable.

Your workspace needs to be well ventilated, or you risk making yourself very sick. Both from paint fumes, rubbing alcohol fumes, and fine matter from when you sand the hull down. This means painting your boat in your garage, if it even fits, is not always the best idea. If you do decide to paint outside, it is important to consider the chance of rain. Of course, your boat is pretty waterproof, but once you begin sanding rain might damage the wood if left to sit there.

Before you do anything else, it is important to look your boat over fully from top to bottom. You are looking for any bumps, scrapes, cracks and general damage. This damage is not going to be noticeable while the boat is in the water, so just before you paint it is one of the only times you get to have a close look. Once you have made note of all this damage, it is time to get to work repairing it. Depending on just how severe this damage is, you may want to get help with this next stage.

All of this damage needs to be repaired before anything else can take place. Painting over these damaged areas is just going to hide the problem temporarily, the next time it comes to painting you will find they are far worse. If you don’t deal with this now, they are going to snowball into complicated and expensive repairs.

After your repairs are done it is time to start sanding. This is very time consuming as you need to do it three times. Per coat. First, take the 600 grit sandpaper and make your way around the boat. It is best to use electrical tape to mark out a section at a time so you don’t keep losing your place. After you have finished with the 600 grit sandpaper, it is time to move on to 800, then 1200. This process is important so you will be painting on as smooth a surface as possible. It is then a good idea to wipe the surfaces of the boat down with a damp cloth to remove any of the dust and flakes of metal/wood. Otherwise, you end up painting over them.

You could wash the boat down with a hose but you want to avoid getting the boat unnecessarily wet now that the hull has lost its protective layer. If you are sanding down a boat with a copper paint bottom, you may find the sanding process difficult. Just do your best, it doesn’t need to be 100% perfect. It is important to get as much of the old paint off as possible. Your new paint won’t adhere to the old paint as well as it would to the boat hull itself.

Putting on a layer of primer is not 100% necessary but it is recommended. The idea is that you want your topcoat to adhere to the boat as well as possible, a layer of primer can help you do that. The primer needs to be painted on evenly all over the boat. If you only feel like doing below the waterline, that is fine too. It will save you a lot of time. Putting on the layer of primer is not the most time-consuming part, it is mostly the sanding down that you will have to do. You will need to sand down using the 600 grit paper, then the 800, then 1200. Just like last time. Your layer of primer needs to be as smooth as possible for the maximum adhesion.

Now comes the paint. It is recommended to do at least two layers of paint. One undercoat and one top. Some people choose to go as far as two layers of primer, two layers of undercoat, and three layers of topcoat. This is going to be very time consuming, remember you will need to sand down three times between each layer of paint. You can paint using a brush if you like but is far easier to use a roller. It is also far easier if you employ someone to help you with this stage. It could be your spouse, child, friend, or anyone. It doesn’t need to be a paid professional. It can take a long time to go through this process. Especially if you are effectively doing 8 layers of paint (including primer).

The fastest way to paint, especially if you are on your own, is to use a sprayer. They are easy to use, with a little practice. If you haven’t used one before you may find that you struggle to get an even coat. You should always paint in vertical stripes, not horizontal. Additionally, it is a good idea to have someone following after you with a small brush doing small touch-up jobs. Any unevenness will need to be sanded down and repainted. The whole painting process can take a week if you aren’t efficient.

Take pictures

It is a good idea to take pictures throughout the whole process. This is for future reference. For example, if you take pictures of the boat when you are assessing it for damage, you can compare them to after you have repaired or sanded the trouble spots down. If you cant see the trouble spots still, great! If you can, it will help you keep an eye on them after you have painted too. It’s a good idea to catalog all of these areas if they start to become regular problems you may want to have your boat looked at by a mechanic. You might also like to have a before and after picture for your blog, or just as a personal memento.

Hopefully, you now have all the theory needed to paint your boat. There is a lot more that goes into painting your boat than simply grabbing some paint and a brush. It takes planning, practice, and attention to detail. If you follow this guide you will have no trouble at all. If this is your first time painting your boat, don’t be disheartened if it takes a lot longer than you expected. Speed will come with time, it is far more important to get the job done right than get it done quickly. If you put the work in you will be painting like a pro in no time at all.

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• How to paint a boat: A step-by-step guide

Painting your boat not only enhances its visual appeal but also protects it from the damaging effects of saltwater, sunlight, and other elements. Whether you have a sailboat, powerboat, or kayak, the principles of boat painting remain largely the same.

Assessing your boat's condition

Before you begin, evaluate your boat's current condition. Inspect the hull for any damage, scratches, or rust that may need to be addressed before painting. Make a list of necessary repairs and tackle them first.

Gathering the right tools and materials

To paint your boat successfully, you'll need a range of tools and materials, including paintbrushes, rollers, sandpaper, masking tape, drop cloths, and, most importantly, the appropriate marine paint.

Preparing the boat surface

Proper preparation is the key to a successful paint job. Start by cleaning the boat's surface thoroughly to remove dirt, grease, and old paint. Sand the surface to create a smooth and clean canvas for the new paint to adhere to.

Applying primer

Priming is a crucial step to ensure good paint adhesion and durability. Apply a marine-grade primer that is compatible with the paint you've chosen. Allow it to dry thoroughly as per the manufacturer's instructions.

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Choosing the right paint.

Selecting the right type of marine paint is essential. There are different types of boat paint available, such as antifouling paint, topside paint, and bottom paint. Choose the one that suits your boat's needs and your intended use.

Applying the paint

Start by applying the paint to the boat's surface using a paintbrush or roller. Use long, even strokes, working from one end to the other. Be mindful of the weather conditions, as extreme temperatures and humidity can affect the paint's drying process.

Applying additional coats

For best results, you may need to apply multiple coats of paint. Follow the manufacturer's recommendations for drying times between coats. Applying multiple thin coats is often better than one thick coat.

Drying and curing

Allow the paint to dry completely before launching your boat into the water. The curing time can vary depending on the type of paint and environmental conditions. Follow the paint manufacturer's instructions for specific guidance.

Final touches and cleanup

After the paint has dried, remove any masking tape and clean your tools and equipment. Inspect your boat's finish for any imperfections, and make any necessary touch-ups.

Painting a boat requires careful planning, preparation, and attention to detail, but the results can be incredibly rewarding. Not only will your boat look like new, but it will also be better protected against the elements, ensuring many more enjoyable days on the water.

Whether you're a DIY enthusiast or a boat owner looking to maintain your vessel's beauty and functionality, this step-by-step guide on how to paint a boat will help you achieve a professional and long-lasting finish. So, roll up your sleeves, gather your materials, and give your boat the makeover it deserves. Happy painting!

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Step-by-Step Guide: How to Paint a Sailboat with Acrylics

Alex Morgan

Painting a sailboat with acrylics can be a rewarding and enjoyable artistic endeavor. Whether you are a beginner or an experienced artist, this article will provide you with a comprehensive guide to creating a stunning sailboat painting using acrylic paints.

To begin with, you will need specific materials and tools to ensure a successful painting process. These include acrylic paints in various colors, a set of brushes suitable for acrylic painting, a palette for mixing colors, a canvas or painting surface, a water container for cleaning brushes, a palette knife for texture, and a reference image or sketch of a sailboat.

Before you start painting, it is essential to prepare the surface properly. This involves cleaning the surface to remove any dust or debris, and then applying a layer of primer or gesso to create a smooth and even base for your paint to adhere to.

To achieve the desired result, it is important to understand and practice basic techniques for painting with acrylics. This includes learning how to mix colors to create different shades and tones, how to layer and blend colors to add depth and dimension, and how to create texture and detail in your sailboat painting.

Once you are familiar with the techniques, you can follow a step-by-step guide to painting a sailboat. This includes sketching the sailboat outline, blocking in the background colors, adding base colors to the sailboat, adding details and highlights, and refining the painting to ensure a polished and professional look.

To complete your sailboat painting, don’t forget the finishing touches and sealing the artwork to protect it and enhance its longevity. We will share some tips and tricks to help you master the art of painting a sailboat with acrylics, allowing you to express your creativity and create beautiful marine-inspired artworks. So gather your materials and get ready to set sail on your artistic journey!

Key takeaway:

• Using acrylic paints and appropriate tools is essential for painting a sailboat. Acrylic paints are versatile and easy to work with.
• Properly preparing the surface by cleaning and applying primer or gesso ensures a smooth painting surface.
• Understanding basic techniques such as color mixing, layering, blending, and creating texture and detail is important for painting a realistic sailboat.
• Following a step-by-step guide helps in achieving a well-executed sailboat painting.
• Finishing touches and sealing the painting enhance its longevity and protect it from damage.
• Tips and tricks such as using reference images or sketches and refining the painting contribute to a successful acrylic sailboat painting.

Materials and Tools Needed for Painting a Sailboat

Are you ready to set sail on a creative painting journey? This section has all the juicy details about the materials and tools needed to paint a stunning sailboat with acrylics. We’ll dive into the vibrant world of acrylic paints , the magic touch of different brushes , the perfect palette for mixing colors, the ideal canvas or painting surface, the essential water container and palette knife , and the importance of having a reference image or sketch. Get your creative gears ready, because we’re about to embark on an artistic adventure !

Acrylic Paints

When painting a sailboat with acrylic paints , it is crucial to choose the right type of acrylic paint . Consider the following factors when selecting acrylic paints :

– Quality : Opt for high-quality acrylic paints for vibrant and long-lasting colors.

– Color range : Look for brands that offer a wide range of colors, including various shades of blue for painting the sky, water, and sails of the sailboat.

– Opacity : Consider the opacity of the acrylic paints . Some colors are more opaque, allowing for solid coverage, while others are more transparent, allowing for layering and glazing techniques.

– Drying time : Check the drying time of the acrylic paints . Faster drying paints are great for quickly building layers, while slower drying paints allow for more blending and wet-on-wet techniques.

– Brand reputation : Research and choose acrylic paints from reputable brands known for their quality and consistency.

Pro-tip : Before starting your painting, it’s recommended to do a small color swatch test to see how the colors appear on your chosen canvas or painting surface. This will help you make any necessary adjustments before committing to the final artwork.

When painting a sailboat with acrylics, the right brushes are crucial for achieving desired results. Here is a list of brushes to consider:

1. Round brushes: Perfect for creating fine details like rigging and small waves. They come in various sizes, from small for intricate work to larger for broader strokes.

2. Flat brushes: Ideal for creating straight lines and sharp edges. Great for painting sails, the horizon, or other flat surfaces on the sailboat.

3. Fan brushes: Excellent for creating texture like foliage or water splashes. Can also blend colors and create soft, feathery strokes.

4. Filbert brushes: Versatile brushes for both fine details and broader strokes. Particularly useful for painting the hull and larger areas.

5. Detail brushes: Perfect for adding intricate details and highlights. Allows for precise control in adding fine lines, textures, and highlights.

Fact: Using the right brushes not only makes painting a sailboat easier but also enhances the overall quality of your artwork. Experimenting with different brush shapes and sizes can help achieve different effects and add depth to the painting.

When painting a sailboat with acrylics , a palette is essential for effectively mixing and organizing colors. A palette serves as a flat surface where you can arrange and blend paints.

Canvas or Painting Surface

Choosing the right canvas or painting surface is crucial for a successful sailboat painting with acrylics. The size and material of the canvas are important factors that affect the outcome of the painting.

A larger canvas allows for more details and a grander composition, while a smaller canvas is more manageable and quicker to complete. The most popular canvas materials are cotton , linen , and polyester .

Cotton canvas is affordable and suitable for beginners. Linen canvas , though more expensive, offers a smoother surface and better longevity. Polyester canvas is a synthetic option that is resistant to moisture. Regardless of the material you choose, it is important to prime the canvas with gesso or primer before painting.

This creates a smooth and stable surface for the acrylic paints, resulting in better color vibrancy and a longer-lasting artwork. When selecting a canvas or painting surface, consider your artistic vision and preferences to create a stunning sailboat painting with acrylics.

Water Container and Palette Knife

The sub-topic “ Water Container and Palette Knife ” in the article “ How To Paint A Sailboat With Acrylics ” can be represented in a table format:

Using a water container is essential in acrylic painting to keep your brushes clean and prevent paint from drying. The container should be filled with clean water and changed when dirty to ensure a constant supply of clean water for rinsing and thinning paint.

The palette knife is a versatile tool for mixing colors directly on the palette. Its flat blade is perfect for scraping and lifting paint, allowing for experimentation with color combinations and creation of various textures in artwork. The palette knife can be used to apply paint directly to the canvas for precise and controlled brushwork.

By having a water container and palette knife in your painting toolkit, you’ll be equipped to efficiently and creatively work with acrylic paints, bringing your sailboat painting to life.

Reference Image or Sketch

When painting a sailboat with acrylics, having a reference image or sketch is crucial for accuracy and capturing the essence of the subject. The reference image serves as a visual guide, helping artists understand the structure, proportions, and details of the sailboat.

To create a reference image or sketch, start by selecting a clear and high-resolution photograph of the sailboat. It should showcase the desired angle and composition for the painting. Then, use a pencil or grid method to transfer the main outlines and important features onto your canvas or painting surface.

The reference image or sketch acts as a roadmap throughout the painting process. It helps artists determine the placement of the sailboat, the position of the sails, the shape of the hull, and other details. By referring to the image or sketch, artists can ensure accuracy and achieve a realistic representation of the sailboat.

Remember to use the reference image or sketch as a guideline rather than strictly copying it. Allow yourself to add your own artistic interpretation and style to make the painting unique. Experiment with colors, textures, and brushwork to bring the sailboat to life on your canvas.

With a well-prepared reference image or sketch, artists can confidently paint a sailboat with acrylics, capturing its beauty and spirit in their artwork.

Preparing the Surface for Painting

Preparing the surface is a crucial step in painting a sailboat with acrylics . In this section, we’ll discover the necessary techniques to ensure a smooth and long-lasting finish. First, we’ll explore the importance of cleaning the surface thoroughly. Then, we’ll dive into the significance of applying primer or gesso before starting the actual painting process. These essential steps will set the foundation for a successful sailboat painting adventure. So let’s get our brushes ready and make that canvas shine!

Cleaning the Surface

When preparing to paint a sailboat with acrylics, it is essential to follow these important steps for cleaning the surface:

1. Begin by using a soft brush or cloth to remove any dust or debris from the surface. This step is crucial for ensuring proper adhesion of the paint.

2. In case there are stains or dirt that cannot be removed using a brush, gently clean the area with mild soap and water. It is important to avoid harsh chemicals as they may cause damage.

3. Prior to painting, it is necessary to eliminate any peeling or flaking paint. This can be done by carefully smoothing the surface using sandpaper or a scraper.

4. After the cleaning and preparation process, it is recommended to apply a layer of primer or gesso. This will create a smooth surface, enhancing color saturation and durability.

Remember to take your time and handle the surface gently during the cleaning process to prevent any damage. Properly cleaning and preparing the surface guarantees a beautiful painting that will last for a long time.

Applying Primer or Gesso

Applying primer or gesso is necessary for preparing the surface before painting a sailboat with acrylics . It creates a smooth base for the paint, improving the quality and durability of the artwork.

To apply primer or gesso:

• Clean the surface: Remove dust, dirt, and grease using a soft cloth or brush.
• Choose the right primer or gesso: Use acrylic gesso , which dries quickly and works well with acrylic paints.
• Prepare the primer or gesso: Stir it thoroughly and thin with water if needed, following the manufacturer’s instructions.
• Apply the primer or gesso: Use a brush or palette knife to apply an even layer, covering the entire area to be painted.
• Allow drying time: Let the primer or gesso dry completely, which usually takes 1-2 hours, but may vary based on the product and environment.

Applying primer or gesso creates a strong foundation for your sailboat painting, ensuring vibrant colors and good adherence to the surface. It also prevents unwanted paint absorption into the canvas or other surfaces. Follow the manufacturer’s instructions for best results.

Understanding Basic Techniques for Painting a Sailboat

Discover the vibrant world of sailboat painting as we delve into the fundamental techniques that bring these majestic vessels to life. From mixing colors to layering and blending, and even creating texture and detail, we’ll explore the artistry and skill required to capture the essence of a sailboat on canvas. Get ready to embark on a creative journey as we unlock the secrets of painting a sailboat with acrylics !

Mixing Colors

When mixing colors in acrylic painting, there are techniques to achieve the desired result.

– Start with the primary colors : red, blue, and yellow. These are the foundation for all other colors.

– Use a color wheel to understand color relationships. Opposite colors on the wheel, such as blue and orange, create contrast when mixed.

– Experiment with different color ratios to create shades and tints. Adding more blue to yellow creates a green shade , while adding more yellow to blue creates a green tint .

– Gradually add small amounts of one color to another, mixing and blending until the desired hue is achieved.

– Consider the effect of adding white or black to a color. Adding white creates a lighter shade , while adding black creates a darker shade .

– Take note of the drying time of acrylic paints, as the color may slightly shift once dry. Let the mixed colors dry before making adjustments.

– Clean brushes thoroughly between color mixing to avoid contamination and achieve accurate colors.

By understanding these mixing techniques, you can confidently create a wide range of colors for your sailboat painting. Experiment and explore different combinations to achieve unique and vibrant results.

Layering and Blending

Layering and blending are pivotal techniques in the realm of acrylic painting. Employ the following strategies to attain the desired effect:

– Emphasize layering: Begin by applying thin coats of paint and gradually intensify the color and texture in order to exercise better control over the varying shades and values.

– Master the art of wet-on-wet blending: Meld hues by applying wet paint atop another still wet layer, resulting in seamless transitions and smooth gradients.

– Harness the power of dry brushing: Utilize a minimal amount of paint with a dry brush to fashion texture and highlights, which is ideal for incorporating intricate details.

– Embrace glazing: Introduce translucent layers of paint onto dry layers to yield depth and radiance, thereby permitting subtle variations in color and an atmosphere-like aura.

– Achieve blending with a palette knife: Directly mix and blend colors on the painting surface using a palette knife, imbuing the artwork with texture and dimension.

Experiment with these techniques to ascertain the most effective approach. The combination of layering and blending can augment the depth, dimension, and opulence of your acrylic paintings, thereby enabling you to create captivating sailboat masterpieces.

Creating Texture and Detail

Creating texture and detail is essential when painting a sailboat with acrylics . These techniques enhance the depth and visual interest of the artwork. To achieve texture, it is recommended to utilize methods such as dry brushing , sponging , or palette knife strokes.

Implementing these techniques effectively can add texture not only to the sails , water , but also to the boat as a whole.

One approach to create texture on the sails is by using the dry brush technique. This involves applying a small amount of paint to a dry brush and gently brushing it onto the canvas. By doing so, a rough and textured appearance is achieved, giving the impression of fabric on the sails. To replicate waves and ripples on the water, consider using a palette knife to apply thick, undiluted paint with a scraping motion.

Adding intricate details is crucial in bringing the sailboat to life. Using fine brushes and thin paint, you can incorporate intricate elements such as rigging , ropes , and various features on the boat. Paying close attention to these details will greatly enhance the realism and overall quality of the painting.

Don’t be afraid to experiment with different techniques and brushes in order to achieve the desired textures and details. Remember, practice and patience are key when mastering the art of creating texture and detail in sailboat paintings.

Fun Fact: Incorporating texture and detail in a painting can give the artwork a three-dimensional appearance, captivating viewers.

Step-by-Step Guide to Painting a Sailboat

Master the art of painting a sailboat with acrylics with this step-by-step guide.

We’ll take you through the process, from sketching the sailboat to refining the final touches.

Discover how to block in the background, add base colors, and bring your sailboat to life with details and highlights.

With these expert tips and techniques, you’ll be able to create a stunning sailboat painting that showcases your artistic skills.

Get ready to embark on a creative journey and immerse yourself in the world of sailboat artistry.

Sketching the Sailboat

To begin sketching the sailboat before painting with acrylics, follow these steps:

1. Take a blank canvas or painting surface.

2. Take a look at the reference image or sketch of the sailboat.

3. Recognize the basic shapes and proportions of the sailboat, including the hull , sails , and mast .

4. Use a pencil or charcoal to create a light outline of the sailboat on the canvas. Begin with simple shapes and lines.

5. Pay close attention to the positioning and size of various elements, such as the sails and the angle of the mast.

6. Add more intricate details to the sketch, such as windows, ropes, or flags. It is important to ensure accurate proportions and perspectives.

7. Erase any unnecessary lines or mistakes while refining the sketch. Focus on capturing the overall shape and composition.

8. Once you are satisfied with the sketch, go over the lines with a fine-tipped pen or marker to define them. Alternatively, you can use a dark pencil.

9. Review the sketch to make sure it accurately represents the sailboat and the desired composition.

10. The sketch is now ready to serve as a guide for painting the sailboat with acrylics.

By following these steps, you can create a detailed and accurate sketch of a sailboat before starting the painting process.

Blocking in the Background

Blocking in the background is an important step in painting a sailboat with acrylics. It establishes the composition and sets the tone for the rest of the painting. Here is a step-by-step guide on how to block in the background :

1. Choose the colors for the background based on the atmosphere and mood you desire. Soft blues and greens create a calm and serene scene, while bold and contrasting colors produce a dramatic and vibrant effect.

2. Apply the background colors onto the canvas with a large brush, starting from the top and working your way down. Use broad strokes to cover the entire background area.

3. Block in the basic shapes and forms of any objects or elements that will be part of the background, such as the sky, clouds, trees, or distant land .

4. Focus on capturing the general shapes and colors rather than intricate details. Use loose and expressive brushstrokes at this stage.

5. Blend the colors together where they meet to create a smooth transition. Use a clean, damp brush to softly blend the edges.

6. Step back and assess the overall look and feel of the background. Make necessary adjustments to the colors or shapes to ensure it complements the rest of the painting.

By following these steps, you can effectively block in the background of your sailboat painting and set the stage for the rest of your artwork.

Blocking in the background has been used by artists for centuries to establish the foundation of a painting. It creates depth, atmosphere, and a harmonious composition. Whether it’s a landscape, still life, or sailboat painting, blocking in the background is an essential part of the painting process, allowing artists to develop their vision and bring their artwork to life.

Adding Base Colors to the Sailboat

To effectively add base colors to the sailboat when painting with acrylics, adhere to the following instructions:

1. Begin by preparing your palette with the necessary base colors for the sailboat. This includes utilizing blue for the water, white for the sails, and brown for the wooden parts.

2. Use your brush to apply the first base color to the appropriate areas of the sailboat. For larger areas, employ broad strokes , while smaller details require finer strokes .

3. Layer each base color onto its respective area of the sailboat, ensuring smooth and even coverage. Add additional coats as needed.

4. When necessary, seamlessly blend the base colors together. This can be achieved by gently mixing the colors with either a clean brush or a palette knife, resulting in a gradual gradient .

5. Throughout the painting process, refer to your chosen image or sketch to ensure accurate color placement and shading.

6. Before proceeding to add details and highlights to the sailboat, allow the base colors ample time to dry completely .

By following these steps attentively, you will lay a solid foundation for your sailboat painting by effectively and accurately incorporating the base colors.

Adding Details and Highlights

When adding details and highlights to a sailboat painting with acrylics , consider techniques that enhance the realism and quality of the artwork.

1. Use a smaller brush size .

2. Mix the appropriate colors .

3. Apply thin layers of paint.

4. Focus on light and shadows.

5. Use a dry brush technique for highlights .

6. Add finer details with a fine liner brush .

7. Step back and assess the painting regularly.

Following these guidelines, artists can create depth and dimension in their sailboat paintings while capturing the essence of light and highlighting important elements of the subject.

Refining the Painting

To refine a sailboat painting with acrylics, the first step is to assess the sailboat’s composition and proportions. It is important to adjust as necessary in order to accurately represent the sailboat. Once the basic structure of the sailboat is in place, it is time to refine the details. This can be done by adding fine lines, curves, and shading for depth.

To make the painting more visually appealing, highlights should be added to catch the light, such as on the sail edges and hull. In order to achieve a realistic effect, it is important to blend colors seamlessly. After the sailboat itself is refined, attention should be turned to the background. Evaluate and enhance the background colors to ensure they complement the sailboat. If necessary, improve the water texture and depth to add more dimension to the painting.

To truly bring the painting to life, consider adding additional details like seagulls or waves. After all the refinements have been made, step back and evaluate the final painting. Make any touch-ups or adjustments as necessary to perfect the artwork. The process of refining the painting is crucial for capturing the beauty and intricacies of a sailboat with acrylics. These final touches will truly make the artwork special and bring it to life.

Finishing Touches and Sealing the Painting

To complete the sailboat acrylic painting, follow these steps for the finishing touches and sealing :

1. Remove any masking tape or painter’s tape used to create clean lines.

2. Inspect the painting for touch-ups or additional details. Use small brushes and acrylic paint to carefully add necessary final touches.

3. Allow the painting to dry completely before proceeding to sealing.

4. Use a varnish or sealant specifically made for acrylic paintings. Apply a thin, even coat using a soft brush. Follow the manufacturer’s instructions .

5. Let the varnish dry completely, which typically takes several hours.

6. Inspect the painting for any missed areas during the sealing. Touch up these spots with more varnish .

7. Consider applying a second coat of varnish for extra protection and a glossier or matte finish. Follow the manufacturer’s instructions and let each coat dry completely.

8. Once the painting is fully sealed and dry, you can frame or display it as desired.

By following these steps, you can add the finishing touches and seal your acrylic sailboat painting to protect and enhance its appearance.

Tips and Tricks for Painting a Sailboat with Acrylics

Here are some practical tips and tricks for painting a sailboat with acrylics:

1. Prepare your workspace by covering it with newspaper or a drop cloth to avoid paint splatters or spills.

2. Start by sketching the sailboat outline on your canvas using a pencil as a guideline.

3. Mix your acrylic paints on a palette to achieve the desired colors for the hull, sails, and details.

4. Use a larger brush to paint the background and base colors of the sailboat. Apply thin layers of paint and let each layer dry before adding another.

5. Once the base colors are dry, use a smaller brush to add details like windows , ropes , and flags . Pay attention to the intricate features of the sailboat.

6. Create depth and dimension by adding shadows and highlights . Use lighter shades for areas that catch the light and darker shades for areas in shadow.

7. To add texture to the water surrounding the sailboat, use a palette knife or dry brush technique for a more realistic and dynamic look.

8. Allow the painting to dry completely before adding final touches or varnish to protect it.

By following these tips and tricks, you can create a beautiful sailboat painting with acrylics.

Some Facts About How To Paint A Sailboat With Acrylics:

• ✅ Acrylic paint is commonly used for painting sailboats due to its versatility and quick drying time.
• ✅ Sailboat paintings created with acrylics can capture the vibrant colors of the water and sky.
• ✅ Using different brush techniques and layering, artists can create texture and depth in their sailboat paintings.
• ✅ Acrylic paints are available in a wide range of colors, allowing artists to accurately depict the details of a sailboat.
• ✅ To protect the finished sailboat painting, artists often apply a varnish or sealant to ensure its longevity.

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Quicksilver Mercury 92-802878Q-1Mercruiser Phantom Black Paint Phantom Black is an authentic black paint for Mercury and Mariner Outboards, Sport Jet, and Mercruiser Stern Drives. This aerosol paint is easy to apply and features a fast-drying and...

Interlux Perfection High Gloss Marine Paint

This product has been discontinued by Interlux and has been replaced by Toplac Plus Interlux Perfection 2-Part Polyurethane High Gloss Marine Paint When it comes to marine paints, Interlux is the leading manufacturer of high-quality paints that help to...

Interlux Trilux Boat Prop & Drive Antifouling Paint

Interlux Trilux Boat Prop & Drive Antifouling Spray Paint Props and engine drives are constantly being submerged in water, which can cause a breakdown of the metals or corrosion. Protecting them is key to long-lasting props and drives. Interlux has...

Tuff Coat Roller

Tuff Coat Roller Apply your Tuff Coat Non-Skid Coating with this quality roller. Roller evenly distributes the coating quickly and easily. 

Interlux Sikkens Cetol Marine Natural Teak Finish

Interlux Sikkens Cetol Marine Natural Teak Finish Over time, all the potential environmental hazards, such as saltwater, wind, and scorching sun rays, can have their way with teak furniture and decking. Protect your investment with Sikkens Cetol Marine...

Interlux Micron CSC Antifouling Bottom Paint

Interlux Micron CSCAntifouling Bottom Paint Spring 2024 Consumer Rebate program! Save 20$ per gallon up to 2 gallons Feb 1 - June 1! Click here for Additional Information and here for the Rebate Form! Interlux is an industry leader in ablative bottom...

Interlux Fiberglass Bottomkote NT

Interlux Fiberglass Bottomkote NT Antifouling Marine Paint Spring 2024 Consumer Rebate program! Save 10$ per gallon up to 2 gallons Feb 1 - June 1! Click here for Additional Information and here for the Rebate Form! Not all antifouling paint is equal...

Interlux Special Marine Paint Thinner

Interlux 216 Special Thinner (Quart) - For Brush or Spray Interlux 216 Special Thinner is a fast evaporating solvent which when added to specified paint coatings improves drying in cold climates, and facilitates spray application. 216 Thinner is also...

Moeller Zinc Phosphate Primers

Moeller Marine Zinc Phosphate Primer Moeller's Zinc Phosphate Primers are quality-tested to meet the needs of the marine environment. This outboard and stern drive self-etching, phosphate primer chemically bonds with aluminum and steel to form a...

Pettit 120 Brushing Thinner - Quart

Pettit 120 Brushing Thinner Pettit 120 Brushing Thinner is a general purpose thinner for thinning brushing enamels for easier application. Many paints when stored for some time before use will increase in viscosity and should be thinned with a good...

Interlux Interprotect Epoxy Barrier Coat Kit - Gray

Interlux Interprotect Epoxy Barrier Coat Kit - Gray Applying Interlux 200E can help protect hulls from damaging water absorption that can cause long-term, costly repairs to your boat. Interprotect 200E is a two-part epoxy coating that will provide...

Tuff-Coat Water-Based Primer

Tuff-Coat CP-10 Water-Based Primer for Concrete, Wood & Fiberglass Tuff Coat Marine is an industry leader in rubberized non-skid coatings for both dock and decks. They are the first choice for boaters and marines for a reliable, attractive, durable...

Redtree Disposable Chip Bristle Brush

Redtree Disposable Chip Bristle Brush The Redtree disposable chip bristle brush is an affordable marine brush for use when applying epoxy and resin. Features: Square Trim Sanded Wood Handle White Bristle...

Redtree Foam Paint Brush

Redtree Foam Marine Paint Brush The Redtree foam paint brush is an affordable disposable brush used for making touch ups to your paint work. Trim Pointed Edge Wood Peg Handle Black Foam Stock Use for Touch-Ups 1/2" Thickness

Interlux Pre-Kote Brightside Boat Primer - White

Interlux Pre-Kote Brightside Boat Primer - White As one of the largest manufacturers of marine paints and primers, Interlux is a name you can trust for high-quality products that provide long-lasting protection for your boat finishes. The innovative...

Interlux ACT Ablative Antifouling Bottom Paint

Interlux ACT Ablative Antifouling Bottom Paint Spring 2024 Consumer Rebate program! Save 10$ per gallon up to 2 gallons Feb 1 - June 1! Click here for Additional Information and here for the Rebate Form! Interlux ACT Antifouling Paint Ablative provides...

Interlux Trilux 33 Antifouling Boat Bottom Paint

Interlux Trilux 33 Antifouling Bottom Paint Trilux 33 is formulated to provide the most effective protection for fiberglass, wood, and all underwater metal surfaces. This antifouling bottom paint is tin-free and is perfect for maintaining bright colors...

Boat paint and marine paint are not the same formulations as interior or exterior house paint that you can buy at any warehouse store. That’s because marine grade paint is oil-based, whereas the latter is latex-based. This means that boat paint will hold up better and wear longer when used on boat surfaces, especially those submerged in water. When your craft requires painting, give us a call. Wholesale Marine is a leading retailer of marine paints and only carries the top brands like Aquagard , Interlux , Tuff-Coat , Pettit , Moeller Marine , and more.

There are different types of boat paints for a wide range of marine applications. Antifouling boat bottom paint, marine primers, marine varnish, topside boat paint, and engine spray paints. Make sure, when you are selecting paint for your boat, that it is the right one and has been specifically formulated for the appropriate application. Using the incorrect marine-grade paint can lead to corrosion, oxidation, and other damage. If you are not sure which paint is right for your task, just ask our knowledgeable representatives.

Protect Your Boat With Marine Paint

For example, protecting the hull of your boat with the proper antifouling boat bottom paint can prevent damage and costly repairs. Antifouling paints come in hard and ablative options that help protect from various organisms attaching to your boat and causing hull damage.

Topside boat paint s are for use above the waterline including the sides, hull, deck, and interior of your vessel, and provide a protective barrier between your boat and the elements. We offer a wide range of options for all applications.

When shopping for your marine-grade paints, make sure you have all the painting accessories you will need to get the job done. At Wholesale Marine we offer one-stop shopping and an unmatched selection of painting supplies that covers everything from brushes, rollers, tape, and more.

Plan to contact Wholesale Marine for all your boat painting needs. We not only have one of the largest online inventories of marine paint and supplies but expertise as well and gladly offer sound advice. Remember, if you are not sure which type of paint is right for your needs, just give us a call and consult with one of our representatives. You can contact us at 877-388-2628. Our boat experts are here to help Monday through Friday from 9:00 AM until 6:00 PM EST.

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• About Anchor Marine Repair
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Boat Painting and Restoration

Dock appeal.

Below are some areas that start showing their age long before most boats are ready to retire.

Renovating your Helm

Boat manufactures keep improving their products and electronics all the time. Every year some new gadgets–like 3-D features, improved charting software, night vision, and high-definition radar–come into the market that is the newest and greatest. While just upgrading your electronics usually work, it is best to consider a makeover of your helm station. Thanks to modern technology, there are ways to clear away some of the clutter in your electronics box and use just one or two monitors to display all the information needed for your fishing trip.

On The Deck

Nothing makes a boat look older and worn than a shabby-looking teak deck and transom covering boards scorched on a very unappealing gray created from the harsh sun during summer. One of the most important parts on your boat is your cockpit and teak–if they look horrid, your boat will not make a good impression.

If you have plenty of teak left and if it was in good condition and installed properly in the beginning, you can redo it and bring it back to life. However, if the teak is coming loose and lifting off, you are going to have to start from the start and redo the entire thing.

Let the Boat Repair Professionals Do The Work

Anchor Marine Repair is the key solutions to all of your boat repair, renovation, and refurbishing needs. We take pride in every project, and make sure your boat renovation goes above and beyond your expectations.

Anchor Marine Repair specializes in every aspect of boat repair including:

• Structural boat damage
• Wood floor refinishing
• Transom replacement
• Top replacement
• New upholstery
• Leaking rivet repair
• Boat trailer repair

If you have any questions about boat painting and restoration, call our office today.

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No Mechanical Repairs

We provide fiberglass & aluminum boat damage repair, painting, and refinishing. We do not have any mechanics on staff, and cannot provide any mechanical repairs or quotes.

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What we know about the container ship that crashed into the Baltimore bridge

• The ship that crashed into the Francis Scott Key Bridge on Tuesday was the Singapore-flagged Dali.
• The container ship had been chartered by Maersk, the Danish shipping company. 
• Two people were recovered from the water but six remain missing, authorities said.

A container ship crashed into a major bridge in Baltimore early Tuesday, causing its collapse into the Patapsco River.

A livestream showed vehicles traveling on the Francis Scott Key Bridge just moments before the impact at 1:28 a.m. ET.

Baltimore first responders called the situation a "developing mass casualty event" and a "dire emergency," per The Associated Press.

James Wallace, chief of the Baltimore Fire Department, said in a press conference that two people had been recovered from the water.

One was uninjured, but the other was transported to a local trauma center in a "very serious condition."

Wallace said up to 20 people were thought to have fallen into the river and some six people were still missing.

Richard Worley, Baltimore's police chief, said there was "no indication" the collision was purposeful or an act of terrorism.

Wes Moore, the governor of Maryland, declared a state of emergency around 6 a.m. ET. He said his office was in close communication with Pete Buttigieg, the transportation secretary.

"We are working with an interagency team to quickly deploy federal resources from the Biden Administration," Moore added.

Understanding why the bridge collapsed could have implications for safety, in both the shipping and civil engineering sectors.

The container ship is the Singapore-flagged Dali, which is about 984 feet long, and 157 feet wide, per a listing on VesselFinder.

An unclassified Cybersecurity and Infrastructure Security Agency report said that the ship "lost propulsion" as it was leaving port, ABC News reported.

The crew notified officials that they had lost control and warned of a possible collision, the report said, per the outlet.

The Dali's owner is listed as Grace Ocean, a Singapore-based firm, and its manager is listed as Synergy Marine, which is also headquartered in Singapore.

Shipping news outlet TradeWinds reported that Grace Ocean confirmed the Dali was involved in the collapse, but is still determining what caused the crash.

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Staff for Grace Ocean declined to comment on the collision when contacted by Business Insider.

"All crew members, including the two pilots have been accounted for and there are no reports of any injuries. There has also been no pollution," Synergy Marine said in a statement.

The company did not respond to a request for further comment from BI.

'Horrified'

Maersk chartered the Dali, with a schedule for the ship on its website.

"We are horrified by what has happened in Baltimore, and our thoughts are with all of those affected," the Danish shipping company said in a statement.

Maersk added: "We are closely following the investigations conducted by authorities and Synergy, and we will do our utmost to keep our customers informed."

Per ship tracking data, the Dali left Baltimore on its way to Colombo, the capital of Sri Lanka, at around 1 a.m., about half an hour before the crash.

The Port of Baltimore is thought to be the largest in the US for roll-on/roll-off ships carrying trucks and trailers.

Barbara Rossi, associate professor of engineering science at the University of Oxford, told BI the force of the impact on one of the bridge's supporting structures "must have been immense" to lead to the collapse.

Dr Salvatore Mercogliano, a shipping analyst and maritime historian at Campbell University, told BI: "It appears Dali left the channel while outbound. She would have been under the control of the ship's master with a Chesapeake Bay pilot onboard to advise the master.

"The deviation out of the channel is probably due to a mechanical issue as the ship had just departed the port, but you cannot rule out human error as that was the cause of the Ever Forward in 2022 just outside of Baltimore."

He was referring to the incident two years ago when the container ship became grounded for a month in Chesapeake Bay after loading up cargo at the Port of Baltimore.

The US Coast Guard found the incident was caused by pilot error, cellphone use, and "inadequate bridge resource management."

Claudia Norrgren, from the maritime research firm Veson Nautical, told BI: "The industry bodies who are here to protect against incidents like this, such as the vessel's flag state, classification society, and regulatory bodies, will step in and conduct a formal investigation into the incident. Until then, it'll be very hard for anyone to truly know what happened on board."

This may not have been the first time the Dali hit a structure.

In 2016, maritime blogs such as Shipwreck Log and ship-tracking site VesselFinder posted videos of what appears to be the stern of the same, blue-hulled container vessel scraping against a quay in Antwerp.

A representative for the Port of Antwerp told BI the Dali did collide with a quay there eight years ago but couldn't "give any information about the cause of the accident."

The Dali is listed as being built in 2015 by Hyundai Heavy Industries in South Korea.

Watch: The shipwreck at the center of a battle between China and the Philippines

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