Royal Watercolour Society Friends in East Anglia Exhibition

For the next two weeks I am taking part in an exhibition in Newmarket. It is by the Friends in East Anglia of the R.W.S.

Exhibits are not only in pure watercolour, but also include any water based medium such as gouache , acrylics, or pen ink and wash.  The subjects are very diverse  -  from East Anglian seascapes and landscapes to further afield.  Abstracts, animal portraits, flower paintings, and architectural interiors are also included. Below are  a few examples of the paintings on show.

Pretty Prawn

“Pretty Prawn”  by Tessa Shedley Jordan

Swimmer

“Swimmer”   by Gillian Marklew

 Prospect of Whitby

The “Prospect of Whitby” by Les Williams

Old Hulks, Pin Mill

“Old Hulks, Pin Mill” by John Glover

The exhibition is in the Palace House Mews Gallery

Exhibition

and runs until the 18th October.

The art of tempera painting

I briefly mentioned tempera painting in a previous blog. The technique pre-dated oil painting and requires a slow and painstaking  approach. I have done very few paintings in it but feel it is very worthy of further consideration and practice. Below is a portrait I did of my mother using this technique. The original painting measures only 5″ x 4″.

The Artist's Mother

In a later blog,  I will discuss both the history and techniques of tempera painting.

Painting at Pin Mill

Today, I went painting ” en plein air”at Pin Mill. This is a lovely spot on the River Orwell and is famous for its Thames barges, house-boats and the “Butt and Oyster” pub.

My preferred choice of medium was gouache and I worked on a watercolour board ( Hot pressed). It was a fairly grey day, but there were occasional hints of sunlight trying to break through the leaden sky. As always when working out of doors one has to work very rapidly. The clouds were  fairly scudding across the sky and I was aware that the tide which was high when I started , was very soon going to ebb.

Gouache painting of Pin Mill

I began by very rapidly blocking in the sky using a 1″ hog’s hair brush and diluting the paint with lots of water.  Raw umber, yellow ochre, ultramarine , cobalt blue and titanium white were the colours used. There was no time for fiddling around as the sky seemed to be getting darker by the moment.

Painting of Pin Mill

Still using large brushes and fluid pigment I add the distant horizon, trees and a suggestion of barges and houseboats. I begin to try to capture the play of light and reflections on the water. At times the light on the water is disturbed by tiny ripples as the wind starts to rise . In the foreground there is an almost heavy swell with deeper purple and brown shadows  broken up by the pale green of the water reeds. The temptation is to focus on one section but “time and tide wait for no man”.

Painting of Pin Mill

I now tackle the barges and houseboats. At this point a little more precision is required as I check the scale of them to the landscape and each other as well as height of masts etc. I begin to suggest the rigging using a very fine sable.

The tide is now on the turn and mud replaces what a moment ago was shimmering light. It also starts to rain. It is clearly time to call it a day. So far the painting has taken just over two hours.

It has been both exciting and frustrating. Just as one is beginning to get somewhere, tide, light and rain stop- play. What to do?

Tomorrow I will revisit the scene in the hope that similar conditions will prevail. But I will also err on the cautious side and take another board in case I have to start a different painting!

Painting a Colourful Portrait in oils 3

Today was my third portrait sitting with Judy. Prior to it I had spent a lot of time painting her costume as well as considering what to do with the background.

An African Lady

As can be seen if you compare this with my previous blog, I have begun to paint her headdress and necklace in much greater detail. Each particular section (e.g. orange) I painted in a slightly darker tone . With a fine sable, I then outlined the rows of beads . Then it was time to apply a mid tone , before flicking in little pinpoints of light.  My original dark tone acts as the shadow area between the beads. All that remains, when this is dry, is to  indicate individual shadows on the beads. The triangular metal piece on her head dress (which indicates she is a married woman) still requires some light, shade and reflection to be added. The white strings are simply blocked in at the moment and also need a bit more definition and shadow.

An African Lady

A close up detail of her necklace illustrating the technique described above.

I have also been working on other areas of the costume, and blocking in the large patterns. It is indeed time consuming but there is no way it can be rushed. With her cloak, I am beginning to suggest the folds and creases. These will have to be completed before I superimpose patterns of little black dots.

I have also added at this stage a very colourful bangle and belt.

An African lady

During our sitting today, I focused on her face, looking at the cool bluish reflection on the left, trying to correct the modelling in her neck, chin and around her mouth. The hair had to be adjusted also.

The background I have also started. Initially, I thought of a bold bright colour like pale blue. But i have now decided to apply gold instead, with all its connotations. The photograph, however,  does not convey the richness of it.

An African lady

This is how the portrait now looks at the end of the third sitting.

Keep watching my blog to see how the painting develops and how it looks when completed.

A bold approach to portrait painting in oils 2

I now begin to focus on establishing the features. If the canvas is overloaded with paint, or I need to move things around, I can scrape it down with a palette knife and paint over.

My normal starting point is the eyes. To establish their position, I measure from them to the top of head and to the bottom of chin. I check the line through them, the distance between themA bold approach continues and their relative sizes. I look at the length, angle and width of the nose, and run imaginary lines up from the edge of the nostrils to check them in relation to the eyes.

I then  tackle the mouth. Does the centre line of the mouth run up at all? How wide is it? Most importantly, it must be in the right position between the bottom of the nose and bottom of chin. Too high or too low and the likeness will not appear.

I lighten the background and in doing so  adjust the contours of the face and top of the head. I also block in very roughly the jumper and shirt.

Shadows and half tones must now be tackled because it is through them that the underlying structure and form of individual features will be rendered. These are painted in at the side of the forehead and nose, as well as the  cheek and under the nose.

This first session draws to a close. From blank canvas to this stage has lasted just under two hours. Throughout, I have used a palette knife and large brushes and worked very rapidly. I am pleased that a likeness is beginning to emerge.

TIPS
Even at this early stage of the painting, one has to start measuring, checking and adjusting the proportions of the various features. One cannot simply hope that a likeness will appear.

Regard it as a fascinating problem solving exercise.

As Anthony Storr said: “Creativity is about bringing order out of chaos”.

Go to part 3

Go back to part 1


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How to create a pen/ink/wash drawing 2

 

I now start working with the pens establishing and building up the details of the buildings.

dscn3368

Starting work with ink on the details of the building

To increase the depth of tone, I apply the technique of cross hatching. At other times I stipple or print with either a tissue or sponge dipped in ink.

The Edding pens create a line of uniform width which can look somewhat mechanical if overused. To counterbalance this I also use a brush pen or even a very fine sable brush dipped in ink. The dark timbers on the buildings were created with these.

How to create a pen/ink/wash drawing 1

Materials used will be drawing pens (Edding) of various sizes, from 0.1 to 0.4, a brush pen, tissues, and a sponge as well as watercolour paper, and watercolours. Initially, I quickly sketch in the composition with a 2B pencil. dscn33642

This will be  a drawing of Lavenham in Suffolk, with its beautiful old medieval buildings. At this first stage, I am simply getting the basic proportions and checking perspective. (It has to be said, however, that  some of these buildings seem to defy the normal rules!) When I am fairly happy with this , it is time to move on to working in ink.
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Painting a landscape in acrylics – part 4

 The finished painting.

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Painting a landscape in acrylics – part 3


I am now working at building up the detail and establishing the perspective of buildings and boats in the painting. I try to capture the play of light and cast shadows, and begin to strengthen the colours. Thin transparent glazes are overlaid in certain areas, and Flow Formula is added to the paint where more precision is required.

Painting a landscape in acrylics – part 2


At this stage of the painting, I am blocking in some of the darker tones, and beginning to construct the various buildings. I am using stiffer pigment and building up the texture of the painting. I do this in different ways. I may stipple with a stiff hogs hair brush or sponge, use a palette knife, or print materials down. There are lots of different mediums that can also assist in this process.
e.g. sand texture gel, glass beads texture gel, heavy structure gel.