Wednesday Warm up landscape

When I returned to the UK from the States in 1993, I moved to Crickhowell (the Magical Town of Crickadoon)  in Wales.

Crickhowell, sits in the beautiful Usk Valley where the Black Mountains and Brecon Beacons meet.

Having living and worked in the States for 28 years, I needed a place where I could immerse myself in nature and get back to basics.

The following landscape exercise reminds me of the surrounding hills where I walked just about every day that I lived there.

I start out by painting over an old sketch….I am using a mix of watercolour and gouache to give necessary coverage.     

Using Winsor & Newton Designer Gouache, Permanent White,  I indicate the sky next to the mountains.

When I first arrived in Wales, I didn’t consider myself to be a landscape painter, however the drama of light play against the hills was far too exciting for me not to record it.

Note that some of the underlying original sketch is showing through….this helps to give the image a sense of luminosity, and depth.

I now add some darker clouds and blue into the sky and add the same colours into the foreground.

Moving colour around an image, brings a sense of balance and harmony.

Using a wash brush, I drag some of the white from the sky into the mountain area.    This is a spontaneous watercolour and so this is done while the paint is still wet.

I use a smaller brush to indicate the sun’s rays over the dark hills.    Note that the underlying original sketch is showing throughout the painting….just hints of it, but enough to give the desired effect.

Remember to allow your brush to dance across the image.    This is all about warming up and PLAY. 

Here’s a Magical Hummingbird for the day.

http://www.janetweightreed.co.uk

HummingbirdHQ.com

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…..

http://www.janetweightreed.co.uk

HummingbirdHQ.com

A bientôt

Beginning the day with a magical hummingbird

It is important for me to have rhythm and structure in my life.      These two elements allow me the freedom to create.    I have also learned that the way I begin my day is vital.

 I used to listen to the BBC news first thing, and realised that it was 99% negative and designed to ignite fear and anxiety in the listener.

I now listen to soothing music for the first hour or two while either writing or doing a warm up watercolour.

Today I start with painting a gentle magical hummingbird.     I have used hummingbird imagery in my paintings for over thirty years.    They symbolise for me the unseen magic in our world.

I am using watercolour paper with a neutral ground which I applied some time ago.    Remember when working from a ground…it is important to let the ground colour dry at least 24 hours before painting…otherwise mud is likely to occur!

Because I have worked from a ground, I have applied Winsor & Newton Permanent White Gouache for my lightest areas.

This took about 20 minutes and along with the music was a very soothing exercise….and at the same time, I now feel awake and fortified to listen to the news or whatever else the day has to throw at me:)

Note in the finished sketch…I have allowed colours to bleed into one another…..

I had a lovely visit with Bonnie Halsey Dutton, who is now staying in Paris with our mutual friend, the artist Mariethe Salort, and then she is on her way to a summer school in Orvieto, Italy.    I will write a separate blog about our time together along with some photographs.

Wishing everyone a peaceful, loving day.

http://www.janetweightreed.co.uk

A Bientôt

 

Tutorial 7. Basic materials for watercolour painting.

This post is about basic watercolour materials.   

Something I have noticed over the years is that many people arrive at workshops, or go out for a day’s painting armed with everything and the kitchen sink:).     

Keeping life simple is definitely a good rule to live by, and this also applies to art materials. 

Frame 1 and 2 – Palettes

When painting indoors, I have used the same palette for over thirty years.     You will note that when I finish a day’s painting, I don’t scrub the palette clean…..to do so is to throw away good paint and money.     Rather, I hold it under a slow running tap and then with a watercolour brush clean off any areas where I have mixed paint.   

Even if the palette has been left to dry for several days, all I need to do is wet the remaining paint on the palette and the paint is activated again. 

My favourite watercolour palette:-

 

I was given this little travelling palette about thirty years ago by a dear friend in the States.     The original blocks of paint have long gone, and so I simply fill the wells with tube paint.   Yes, it looks a little sad, however, after holding it under a running tap for a few seconds, it’s ready to go….

 

Frame 3 and 4 –  Sketch books and paper. 

When travelling, I always carry a small sketchbook.    This is for recording quick images and writing notes.   This one is 5 inches square.      Note, one brush will do, plus a credit card with the corner cut off….also the credit card allows me through customs. 

 

I will write a separate blog about watercolour papers, but today we are talking about papers and sketchbooks for playing and experimenting.      

I highly recommend that you purchase a ‘sample pack’ of watercolour papers from your supplier.    The packs are not expensive, and will allow you to play with different weights and types of papers.     

One of the suppliers I use, sells packs of 50 off cuts.    This is a very affordable way to purchase paper…for playing purposes.  Note I have put a colour ground on two of these. 

 

Frame 5.   Watercolour Pencils

In my last demonstration using the Calla Lily as a subject, I sketched out the the Lily using a watercolour pencil.    To be honest, I hardly ever use them, but it reminded me how useful they can be.

In the first example, I have pulled out paint with a clean, wet brush from the hard line.    In the second example, I scribbled colour and then added water.   In the third if mixed blue and brown together and then added water. 

Watercolour pencils can be purchased from an art supplier. 

 

Frame 6. – Brushes and knife. 

Note that I like to use a big brush and would suggest that when playing, you do the same.   It frees you up.    In this frame there is an uncharacteristically small brush for me, however, for demonstration purposes I used it to make the fine line.     The Rigger Brush (so called because it was used by Maritime artists to paint the rigging on ships) has a much longer head on it…and is very effective for fine lines.     

I have had this knife for about 17 years, since I absconded with it from a friend’s kitchen in San Francisco:)    I become attached to my materials and this knife is no exception. 

Note I made the broad marks, using the big brush and a mix of Burnt Sienna and Prussian Blue, and then pulled out with my knife. 

 

Frame 7.   Juicy paint vs Transparent paint.

I often refer to juicy paint when I am teaching.     This means that I load my brush with tube paint, and very little water.

When I want the pigment to be transparent and light, I use much more water and very little pigment.    In the first example, I have used a mix of Burnt Sienna, Prussian blue….I loaded my big brush and applied directly to dry paper.     I then took a clean, wet brush and teased out the edge.    

In the second example, I have applied Winsor & Newton Green Gold, using my big brush and lots of water….very little pigment is needed.     I have then taken a clean, wet brush and pulled out the edge. 

Using my knife, I have then scraped through.      This is the kind of exercise that I highly recommend.   

 

Frames 8, 9 and 10  –   Watercolours. 

These are what the Winsor & Newton Cotman series watercolours look like.     They are very reasonably priced and are excellent for beginners and advanced painters, alike.       I purchase the big tubes, however, they also have smaller tubes.    

 

When working on a colour ground, I use Winsor & Newton Designer Gouache Permanent White.   There are some pigments where I choose to use the Winsor & Newton artist’s grade colour which is more expensive.      By the way, Winsor & Newton has recently changed their tubes and so don’t be thrown by this. 

 

A few years ago, I was introduced to the Daniel Smith range of watercolours and I love them.    They are more expensive, but absolutely worth it. 

 

The following are some of the pigments I use.    

Winsor & Newton, Cotman series. – Burnt Sienna, Prussian Blue, Dioxazine Violet, Yellow Ochre, Cadmium Orange, Alizarin Crimson, Turquoise, Sepia, cadmium yellow hue, Burnt Umber 

Winsor & Newton – Artists grade – Green Gold, Burnt Sienna 

Winsor & Newton – Designer Gouache – Cobalt Turquoise Light, Opera Rose, Naples Yellow. 

Daniel Smith – Raw Umber Violet, Carmine.

Here are the websites for my favourite suppliers.

http://www.jacksonsart.com      http://www.kenbromleyartsupplies.co.uk     http://www.danielsmith.com  http://www.winsornewton.com

When I travel, as I did recently to the States, I order my paper from a supplier in the country where I will be working (in the States, Daniel Smith).    There are many excellent suppliers worldwide….the four that I have given here, I highly recommend.     All supplies can be ordered on line and delivered to your door.

Happy painting.

A Bientôt   

 

 

 

Tutorial 5. Warm up landscape.

In this short video, I am using the same techniques used in the Calla Lily tutorial.

This is a warm up exercise that I have used for many years. You end up with a little landscape painting, which again can be modified in many different ways, by changing the horizon line, adding some mountains, etc. The key is that it’s all about warming up and playing. By the way any colours can be used.

Before e mail, when I would send lots of snail mail around the world, I would paint these little landscapes on the envelopes. A great way to warm up, and the receivers always enjoyed.

For the sky area I am using – Winsor & Newton Cotman series, Turquoise and Dioxazine Violet.

Between the sky and land, Winsor & Newton Gold Green, and a mix of Prussian Blue and Burnt Sienna for the foreground.

I use a knife or credit card to scrape out grasses in the foreground.

It’s important to note that I don’t use black in my watercolours. Rather I mix Prussian Blue and Burnt Sienna for my darks. I would suggest that you play with swatches of this combination.

Note that I bring colour from the top of the painting into the foreground….because the sky naturally reflects upon the land. Everything reflects and everything is interconnected. This also helps to balance and bring harmony to the image.

This little story points out how our minds are conditioned by what we are taught, rather than what we actually see or experience.

When giving a workshop in Wales one beautiful sunny January morning, one of the participants painted a landscape he had seen on the way to the workshop. He explained that the fields in the landscape was actually blue, and then went onto say that as there are no blue fields in winter, he painted them brown……..

The fact was, the man had seen blue fields. He had seen the reflection of the clear blue sky onto the white frost covering the fields. Rather than believe what he actually observed, he instinctively chose to go with what he had been taught.

When we first enter the world, we are naturally full of curiosity and wonder.

By the time we come to the end of our formative years, at around seven, the narrow definition that our culture has imposed upon us has taken hold.

Happy warming up and playing.

All these exercises can be found in my book The Apple Exercise. The book is available through the products page of my website at http://www.janetweightreed.co.uk

A Bientôt

Tutorial. Working from a colour ground, using watercolour/Gouache – The Piano

Given that we have entered a truly Brave New World, it is time to re-think everything.

Like everyone else my plans have been changed and so I will not be giving a course at the School in Portugal this April….however, what I plan to do is mimic my course here during the week of 15th til 22nd April which will include daily demonstrations  and tutorials. 

We will need to use our collective imaginations with regards to the wonderful atmosphere of the school, the fabulous people, food,  (including wine and ice cream:) and of course sunshine.   (http://www.artinthealgarve.com)

A watercolour of  courtyard from my course at the School last October…Meanwhile I will continue to give tutorials to hopefully keep everyone’s creative juices flowing during these most difficult of times.

 

Here I am using watercolour and designer gouache.

Watercolour is a transparent medium….Designer Gouache is an opaque watercolour medium. 

In this instance, using cadmium orange, and whatever else was on my palette, I painted over an old watercolour that didn’t work for me.     This is a great way to use old sketches/paintings. 

In this frame I have begun to sketch out the piano and stool using, a mix of prussian blue and burnt sienna watercolour.

In frame 3, I add highlights, using Winsor & Newton Designers Gouache, Permanent White.

In frame 4,  I add the chair, using Naples Yellow, designer gouache ….and at the same time emphasised the light streaming in from the window.     I use a wash brush to achieve the broad strokes of light.

 

You will note that in the final frame, I have chosen to focus on the piano.   I have heightened the reds and oranges, and also moved some of the naples yellow around the images, to achieve a sense of harmony.   Note that I have added some violet for shadow tones.

This is a very quick sketch…capturing the drama of light and dark.       Painting over old sketches and using them as a colour ground is an excellent way to warm up, and use up papers.

A Bientôt

New Beginnings

‘Pull a thread here and you’ll find it’s attached to the rest of the world.’   Nadeem Aslam. 

I have been working on a large oil painting over the summer.    It’s 5′ x 4′  (152 x 122 cm) and for the first time, I am using Winsor & Newton water mixable oils.      They behave and work in much the same way as regular oils and the clean up is so much easier.   I give them an all round thumbs up.

I wanted to express through this painting the interconnectedness of all life.  

As humans we seem to be fixated with what can be seen and touched.    I am much more interested in the unseen magic and wonders of our world.   My goal is to achieve a sense of atmosphere and emotion, tapping into the intangible elements of life. 

Given that the painting incorporates the same symbolism I have been using in my work during the past forty years, it is also  a self portrait of my life as an artist.

The painting is still a work in progress.

I am a lover of all animals, and especially big and little cats.

The tigers symbolise passion, mystery, sensuality and patience.

The Peacock – nobility, guidance, immortality and renewal.

The Great White Egret – is known in many ancient cultures as the spirit messenger.

The hummingbirds – were believed to be messengers between the worlds, symbolising eternity, continuity and infinity.

The landscape in this painting is taken from the magnificent Amalfi Coast in Italy.    I stayed in Conca dei Marini last October and fell in love with the place…..and its exquisite light.

I found a beautiful little fountain with a stone cherub overlooking the bay where I painted watercolours, which I used as reference in this painting.

The Little cat in the bottom left hand corner of the painting, visited me there, and it felt as if she had brought a message to me from my beloved cat Cristeve.

The Morning Glory flowers, symbolise death and re-birth.    The seeds which have hallucinogenic properties were made into drinks by the Aztecs when communicating with the spirits.

The new moon – represents – new beginnings.

The following are some watercolours used as reference for this painting:-

Great White Egret.

The little visiting calico cat.

Conca dei Marini, Amalfi Coast.  

For anyone interested in my blogs over the past five years….Go into my website at http://www.janetweightreed.co.uk and click on the ‘Archive blog’ button.

For now I wish one and all a beautiful day filled with loving hummingbirds:)

A Bientôt