I have learned throughout life to ‘never say never’ HOWEVER, I can. honestly say that I never use black when watercolour painting.
The strong darks you see in this spontaneous demonstration of Cala Lilies…and all the other images in this blog are made up from a mix of Prussian Blue and Burnt Sienna. All the whites are dry white paper…and the greenish hue is one of the many values I can get from these two pigments simply by adding water.
Some Prussian Blue/Burnt Sienna swatches. 1) pure Prussian Blue. 2) pure Burnt Sienna. 3.4 &5 are all Burnt Sienna/Prussian blue mixes. If you make your own swatches you will find that there are countless values that can be achieved depending on the amounts of pigment and water used. Give it a go and of course PLAY.
This quick sketch of my dear friend Patricia is made up from Prussian Blue, Burnt Sienna and dry white paper.
I made this sketch of Amish children when visiting my son and his partner’s farm in Pennsylvania two years ago.. Prussian Blue and Burnt Sienna. mix.
I love to sketch the birds at the River Thames close to where I live….All I need to take with me on for a days sketching is Prussian Blue/Burnt Sienna, brush, paper and water.
Another bird sketch from the River Thames
I cheated a little on this one – note that there is some violet in the negative space but the main attraction, Jenny the dog is all Prussian Blue and Burnt Sienna.
In this quick watercolour sketch of a young woman in David’s Bar in Olhao Portugal – I worked from an orange ground….but only used Prussian Blue and Burnt Sienna for the portrait.
As I look through my many sketchbooks I find countless images painted this way….
Although I am talking about watercolour in this post, here is an example of how I use the same mix in an oil painting. This large alla prima (Direct painting) self portrait, oil on canvas is made up from the same mix.
Strong darks can be made by using other blues and browns….the key is, like everything else, to explore and PLAY.
An interesting note. I first came across this mix when I was living in Chester County, Pa. in Andrew Wyeth territory. I never really fit into the Brandywine Tradition, but I learned from it like everything else in life, and took what works for me.
I hope everyone enjoys a lovely weekend and that the brushes are flying:) Janet.
There have been periods during my career when I was fortunate enough to begin each day with a two hour life session. I can’t think of a better way to get the creative juices flowing.
I was fortunate to go to art school in the early sixties when the first year was dedicated to life drawing. Observation, observation, observation……
I believe that a strong foundation frees an artist to explore their work with confidence. 
Along with nude models I also enjoy working with ‘costume models’ learning how to capture the human form beneath the drapes of fabric – again it’s all about honing observational skills.
Focusing on the loving and gentle hands of the mother. A few years ago I gave a weekend residential workshop in Herefordshire where we only painted the hands and feet of our models. An excellent exercise. 
Capturing the gesture and seeking out the abstraction of the shapes produced. – ten minute full sheet study. 
Each painting we work on (including preliminary sketches and warm up exercises) is connected to all the work we have produced in the past and any work we will produce in the future…….Everything is interconnected.
Something to consider is that striving for perfection can sometimes cripple the creative process.
Always try to work on more than one image at a time. This can prevent overworking the painting and producing mud, particularly when working with watercolour!
When working on canvases….it is customary to turn paintings to the wall – sometimes for long periods. This helps an artist to see the painting in a fresh light at a later date. Any work produced in the interim feeds the artist with new information, which is often relevant to the original piece. 
Regardless of the end goal…rapid sketches in any medium, along with honing observational skills help an artist to focus the mind.
Today we find ourselves with many leaders who clearly have no understanding of interconnectedness, rhythm, harmony and balance, and it is these same leaders who are overseeing and governing our collective futures. We wake each day alert to what new form of madness, they have imposed upon us! 
As we make positive simple changes, stress is replaced with a calmness which supports the whole. This is holistic well-being. 
If ever there is a place that is conducive to exploring the creative process….it has been the school in Olhao, Portugal where I have been fortunate enough to teach for quite a few years. A place I have come to think of as a second home….
Situated in the middle of the old fishing town of Olhao, and just a few minutes walk from the waterfront, market, shops, cafes, restaurant, etc. this school has allowed those who have visited to completely immerse themselves into the creative process.
Margarida looking up from one of the lower courtyards.
What is it that makes a place conducive to the creative process? 
The School has given us this, a sense of harmony and cohesiveness. 
And of course wonderful fresh fish………..
Visits to Armona Island, a fifteen minute boat ride from Olhao, were always very special. I would like to spend more time on Armona Island. 
