Friday, 15 April 2016

A recent demonstration...

A demonstration from my recent course at Art Holidays in Dorset. Done in three washes, there are a few drips, which are a bit of an occupational hazard when you're board is almost vertical.

Monday, 21 March 2016

Painting in Monotone

This little monotone study demo' is also from my course. It's a good exercise to paint something using only one colour. I use Ivory Black for these little studies. It's not part of my regular colour palette but is ideal for tonal sketches.

Thursday, 17 March 2016

'Black & White Moggy'

Got back from a painting course at Art Holidays in Dorset, on Monday. This was painted as one of my evening demonstration paintings... next door's black and white moggy.
After sketching the outline with a 5B pencil onto 200lb Bockingford paper, I soaked the paper and then mixed colours on the page to create a soft, atmospheric foundation wash, lifting out some areas with a damp brush. Once it was dry, I began to build up the washes on dry paper. All in all, the painting took about an hour, from start to finish.

Friday, 19 February 2016

Demonstration for Newton Poppleford Art Society

Did a watercolour demonstration for Newton Poppleford Art Society yesterday afternoon. The theme for this one was 'Rocky Coastline' so I chose to do a seascape at Bigbury Bay, which is quite near Burgh Island... reached at high tide via sea tractor. I don't think you could get much more rocky than this bit of coastline.
Painted on a stretched half Imperial sheet of Bockingford rough.

Friday, 12 February 2016

Demonstration for Tiverton Art Society

'Totnes High Street'. I painted this as a demonstration for Tiverton Art Society on Wednesday evening. The theme was 'Loosening up Your Watercolours', which is always a popular topic. It took two hours, from blank sheet to finished painting (with a break in the middle for tea and biscuits!).
Painted on a stretched half Imperial sheet of Bockingford rough.

Thursday, 4 February 2016

'Distant Vistas'

Part two of my article is now in the March edition of Leisure Painter. 
Part two is on the subject of aerial perspective, often know as atmospheric perspective. Features in the landscape tend to become paler as they get further away. Their colours usually become cooler too. Once you understand this, you can make your landscapes much more convincing, giving them a feeling of mood and depth.

Monday, 11 January 2016

'Balancing Points'

I have written something for the latest edition of Leisure Painter. It's the first of a two part article on perspective. Part one concentrates on linear perspective and provides hints on getting angles right. An otherwise good painting can be let down by just a stray line or two so it's worth taking the time to get it right.
I've illustrated it with paintings, which demonstrate key points in the text.

Part two, in the next issue, will be on the equally important topic of aerial, or atmospheric, perspective. This deals with atmosphere and colour, and where to place colours within a scene. Colours tend to appear cooler and paler as they recede. Aerial perspective can be used to create mood in a painting...

but that's for the March issue.