Playing and Doodling using old paintings

 

I needed to play and doodle yesterday, and so I pulled out a piece of watercolour paper which I had already thrown some paint on.    Not sure what I originally intended, but that’s not important.

If you look closely you can see that I have sketched the profile of Claudia, with a blue water colour pencil.   I used a photograph of Claudia as my jumping off point.

Anyone who has taken one of my workshops will know how important I consider the warming up process to be.    Like dancers, musicians and athletes, painters need to warm up at the beginning of the day.    Playful exercises using newspaper, wall paper lining or painting over old sketches is freeing. 

In this frame, it’s all about the negative space….applying colour into the area surrounding the profile, which immediately reveals the face.   Even though I am working over a colour ground, I have applied juicy watercolour next to the face, and then with a clean, wet brush, I have pulled the paint out.

Remember when working from a photograph, it’s not about copying – rather using it as a jumping off point.

I decided to add some Indian Red water colour to the hair and into the negative space.   If asked why….my answer would be because the colour was on my palette and I felt like it:)

Given that I am working off a colour ground, I have applied some Winsor & Newton gouache, permanent white…Had I been working  on white paper….I would have left dry white paper for my highlights. 

I have added some Cadmium Orange water colour which brings a vibrancy to the image.

In the final frame I decided to use the Permanent White, along with some Naples Yellow gouache around the image to bring a sense of interesting light and movement.

An artist who was recently visiting, talked about the problem of feeling that everything she did had to be a finished painting, even in her sketch book.       In our discussion she realised how this attitude prevented her from playing, doodling and freeing up.  

This post will be followed by a watercolour portrait on white paper…..

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A Bientôt

 

 

The dramatic work of Phyllida Barlow

I love to observe how dramatic shapes work together, and so when Maureen and I walked into the gallery within Tate Modern housing Phyllida Barlow’s sculptural installation, I felt a sense of excitement.

Born in 1944, Phyllida Barlow has made imposing, large scale sculptural installations for over four decades.   Using inexpensive, everyday materials such as cardboard, fabric, timber, polystyrene, plaster, scrim and cement, her distinctive works focus on her experimentation with these materials, to create bold and colourful three dimensional collages.

I loved the way the installation worked against the more classical curves of Tate Britain.

Having enjoyed Turner’s sublime paintings,  it made for a huge contrast to enter the world of Phyllida Barlow.

Maureen features in this frame as she walks through the installation.

The large black boxes appear to be very heavy, but in fact are made from a very light weight material.     Another element to the work was the wonderful smell of wood.

Shadow play on the gallery floor adds to the interest.

 

Colour and texture….so interesting juxtaposed  to the elegant curves of the gallery.

I wonder what the Magical Hummingbirds would think of this.   Maybe some hummingbird feeders could be added:)

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A Bientôt

 

 

 

Tate Britain – one of my favourites.

I had a lovely time with Maureen – it all seemed to flow so beautifully, including our visit to Tate Britain on Friday.

Tate Britain – situation on Millbank – London. 

Opened in 1897 the gallery was originally called National Gallery of British Art, and then in 1932 renamed Tate Gallery after its founder Sir Henry Tate. 

When Tate Modern was opened on Southbank in 2000 – the gallery was given the name it is known by today, Tate Britain. 

Maureen’s and my initial purpose was to see the Late Turner – Painting Set Free – Exhibition which focuses on Turner’s work during his sixties and seventies.      A superb exhibition, which I will talk about more in a another blog.

Part of the major renovation of the Gallery which was completed in 2013, is the new spiral staircase beneath the rotunda as you go through the main entrance.

The following images are photographs I took looking down into the staircase.

 

More about our Tate Britain visit tomorrow.

Wishing everyone a Magical Hummingbird Monday.

 

http://www.janetweightreed.co.uk

HummingbirdHQ.com

A Bientôt.

The Importance of Keeping Sketch Books – 2

Carrying a sketch book at all times is a good idea, however this time of year is perfect to put a small sketch book, palette, brush and pen into your bag.    Then find a place in nature where you can doodle and enjoy….oh and don’t forget something to eat and drink…

Sketch books come in all sizes….and although I like to carry a pocket sized book for quick notes, every now and then I will use a bigger tablet, which was the case with this sketch book I used in France during the summer of 2012.

The first two rapid watercolours appealed because of the reflections of the boat and overhanging trees…plus it was such a peaceful place to sit on the banks of the Sein.

This sketch was painted on July 4th 2012….I was with artists, Mariethe Salort, and Bonnie Halsey Dutton….We had just enjoyed a lovely champagne lunch provided by dear Yves….our taxi driver:)

Courriers sur Sein  – watercolour and gouache 

We spent another blissful day in the beautiful village of Gerberoy.   I remember that the Tour de France was close by that day, and every time we passed riders, we yelled ‘Viva La France’ from the car…

This sketch was from the church which sat high up over the village of Gerberoy,  overlooking the beautiful French countryside.

Mariethe Salort managed to arrange for us to paint in Monet’s Garden at Giverney after all the tourists had gone.     It was a wonderful experience to sit in the gardens with no one else around.

Sitting in Monet’s Garden, all alone. 

A bridge over the lily pond at Monet’s Garden, Giverney. 

 

Remember to click on images to see a larger version.

 

You might even see some Magical Hummingbirds.

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HummingbirdHQ.com

A Bientôt

 

 

A splash of colour for Wednesday….

Given that it’s August, a month when so many people are on holiday…and life is generally more laid back….this tutorial fits right in.

I am using watercolour on white paper with a touch of designer gouache.    The difference between watercolour and gouache is that Watercolour is a transparent medium, whereas gouache is an opaque medium.        I love the way the transparent and opaque work together.

This image is all about spontaneity and colour, inspired by the beauty of my friend’s garden in Wiltshire.

I first began mixing watercolour and gouache about 16 years ago.   I was in my studio in Wales…facing a bit of block…and so decided to put out several large sheets of paper and PLAY. It was during the PLAYING  process that I discovered how much I enjoyed mixing these two elements.

This image is all about spontaneity and allowing the brush to dance across the paper.

Using white paper, I began by mixing burnt sienna and prussian blue, and then while the paint was still wet I scraped out some of the paint with my knife.

I then added some Winsor & Newton Green Gold – quite an expensive pigment, but a superb addition to anyone’s watercolour palette.   A little goes a long way.

In this frame I have added some Cobalt Turquoise Light gouache to the top of the image….allowing the middle part to stay as dry white paper.    Note I have brought some of the Cobalt Turquoise into the bottom of the painting to bring a sense of harmony and balance to the image.

I now add Opera Rose Gouache, allowing the colour to bleed into the wet blue area.  Again note that I have brought some of the Opera Rose into the bottom of the painting.   The middle of the image is still dry white paper.

Allowing watercolour to bleed and do its own thing is all about letting go…

I add some Dioxazine Violet to the middle of image, and a mix of alizarin crimson and violet to the Opera Rose mix….all the whites you see, are dry white paper.

I continue to scrape out paint with my knife, which gives a sense of energy.

To finish, I mix permanent white gouache with gold green to suggest stems and leaves.   I have also added some Schmincke Lasurorange – a wonderful pigment.

The overall effect is an impression of flowers in an English country garden.

There are no wrongs or rights in this exercise…it’s all about spontaneity and playing. 

I could imagine this image on a huge canvas….it would make quite a splash.

Note:   click on each image to see a larger version.

Today’s Magical Hummingbirds.

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HummingbirdHQ.com

A Bientôt

The importance of sketch books….

‘You can’t do sketches enough.   Sketch everything and keep your curiosity fresh.’  John Singer Sargent. 

Given the emphasis I put on the importance of keeping sketch books, every now and then I will share the contents of some of mine.     All the sketches in this post were made in Mas Cabardes, SW France.

My sketch books are small – a place where I can record anything and everything that catches my eye.

The light in S.W. France is magnificent, and it was the play of light and shadow on this chair that made me want to record it several time.

These sketches are very fast….and are excellent for honing observational skills.

Again, light and shadow…looking from the inside out….something I love to do.  Two different worlds.

Early morning looking down into the chicken pen from my bedroom.

Chicken

Roof tops from higher up in the village.

Inside shutters….

And one of the many cats that visit me when I am in France:)

When I sketch, I use a tiny palette, one brush and as is the case in some of these sketches, a felt tip pen….Sketch books help me to stay free, and connected to the world around me in a deeper way.

When I pick up one of my many sketch books, I am immediately taken back in time to the place….all my sense are re awakened.

Click on image to see a larger version.

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A Bientôt

 

Artists At Work – preparing for Festival of love….

On my way from London Waterloo Station, about to walk across the Hungerford Bridge….I saw this sign….Artists at Work – Preparing for the Festival of Love.    How wonderful is that?

Clearly it’s going to be a very colourful festival….

Looking down from the Hungerford Bridge to South Bank.   This was about 11.30 before the lunch time crown gathered…

Looking back at South Bank from The Hungerford Bridge.

 Maybe the whole world should be preparing for a Festival of Love….

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A Bientôt

Allowing the brush to dance….

The following watercolour/gouache painting is an example of warming up, playing and allowing the brush to dance…..

I cut an unsuccessful painting into quarters so that I could re use the paper for this and other images.

Using a mix of Opera Rose gouache – plus a little permanent white gouache I rapidly indicate the flower heads….I use violet and Alizarin crimson to indicate the darker areas of the flower.

Note that the underlying colour from the original sketch integrates with the flower.

Allowing my brush to dance across the surface, using a mix of burnt sienna and prussian blue watercolour, I begin to indicate the stems and leaves.   I have also added a little Winsor & Newton green gold – an expensive pigment, but one I highly recommend.

Using a knife I scrape out some of the paint while still wet….which gives a sense of energy and movement.

In the final frame, I mix some Green Gold with permanent white gouache to highlight areas of the image and to indicate seed pods.    I also move more opera rose around the image to bring a sense of harmony and balance.

This is all about spontaneity.     Working like this is a great way to hone observational skills.     The key is to let go, be playful and allow the paint to do its own thing……It also helps to work on several pieces at the same time.

I would also add that my ‘wet brush no paint’ technique is used throughout….this means as I add colour, I immediately clean my brush to pull out the colour.    This prevents muddiness, the enemy of all watercolour painters:)

Here is a Magical Hummingbird to start the new week…..

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A bientôt

To understand and be understood.

When I first met Anne and Mike twenty years ago in The Magical Town of Crickadoon, there was an immediate connection.     Sometimes that happens.

One of the most beautiful qualities of true friendship is to understand and be understood.  Lucius Annaeus Seneca

Anne in her Wilshire garden.

A year ago Anne and Mike moved from their ancient dwelling on top of a mountain in the beautiful Brecon Beacons National Park in Wales back to Wiltshire where they had lived many years before.    This past weekend, I visited them in their new home.

Quick  watercolour/gouache study from the garden. 

Over the years I have come to know Anne and Mike’s six children and numerous grandchildren.   Part of this weekend’s visit was to make preliminary sketches of one branch of the family for what will ultimately be a large family portrait.

Preliminary sketch of Jake.   Last time I painted him he was about 10 years old.      

   

As is always the case the weekend was filled with stimulating conversation, laughter and the sort of comfort and peace that is experienced  when spending time with like minded people.  Oh and I mustn’t forget the fantastic food:)

Observing the reflection of clouds in the garden pond. 

I always learn so much when I am with Anne and Mike.  Their generosity of spirit reflects upon all the people they touch.     I am most fortunate to be one of those people.

A Bientôt

 

 

Seeing differently

‘There are some who see a great deal and some who see very little in the same things’.  T.H. Huxley

If we could time travel back to our earliest formative years, when our world was a kaleidoscope of colour and shapes, we could regain our natural curiosity and love of colour and form.  

 

After the formative years, we begin to see the world through the narrow definition that our culture has imposed upon us.

Our heads can be filled with reasons why we should not, and cannot do something!

Given the fast pace of our lives today, and the fact that most of us are plugged into technology of one kind or another, our collective senses have been deadened. 

Just as dancers and athletes exercise their limbs,  our eyes need to be exercised….so that we can begin to see the world around us in our own unique way. 

The photographs in this post are of an old wooden table I used to do my water-colour painting on….Added to the wonderful paint stains are the lilies and their shadow play. 

‘I don’t believe people are looking for the meaning of life as much as they are looking for the experience of being alive….’  Joseph Campbell. 

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A Bientôt