Copyright

Published by Collins,

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First published in 2003 Great Britain by HarperCollinsPublishers Ltd

Collins is a registered trademark of HarperCollins Publishers Ltd

© The Artist magazine, 2003

Editor: Geraldine Christy

Designer: Penny Dawes

Indexer: Susan Bosanko

The text and illustrations in this book were previously published in The Artist magazine.

The Artist magazine asserts the moral right to be identified as the author of this work.

A catalogue record for this book is available from the British Library

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Source ISBN: 9780007149483

Ebook Edition © OCTOBER 2014 ISBN: 9780008108489

Version: 2014-10-15

Vin Rouge, Paul Riley

Parisian Side Street, Gerald Green

Portuguese Creek, Tom Robb

CONTENTS

Cover

Title Page

Copyright

Introduction by Sally Bulgin (Publishing Editor, The Artist)

1 A Matter of Subject | John Lidzey
2 Fresh Start | John Mitchell
3 Start to Finish | Judi Whitton
4 Enhance your Colours | Paul Riley
5 Tide Lines | Ray Balkwill
6 Bright Ideas | Julie Collins
7 Fruits of Experiment | Anuk Naumann
8 Directional Pointers | Gerald Green
9 The Blues | Tom Robb
10 Go with the Flow | Barry Herniman
11 Beyond the Limits | John Lidzey
12 Brown Studies | Tom Robb
13 Direct Approach | Judi Whitton
14 Tone Control | Hilary Jackson
15 The Freedom of Mixed Media | Anuk Naumann
16 Citrus Hues | Tom Robb
17 Painting Nudes | Sally Fisher
18 Lost and Found | Judi Whitton
19 Fabrics and Folds | Paul Riley
20 Hundreds of Greens | Julie Collins
21 Lighter Darks | Barry Herniman
22 Crisp and Clear | Gerald Green
23 Going for Gold | Anuk Naumann
24 Time to Stop | Judi Whitton

Artists’ Biographies

About the Publisher

INTRODUCTION

Following the worldwide success and popularity of The Artist’s Problem Solver, first published in 2001 by HarperCollins from the long-running series in the UK’s The Artist magazine, we decided to collaborate on this second publication, concentrating this time on the most helpful watercolour problem-solving articles from the magazine series.

As I mention in my introduction to the first book, the aim of the ongoing series on which this most recent book is based is to tackle painting enthusiasts’ most common problems by posing their questions to top-class artist-tutors, who offer advice and possible solutions to each problem through down-to-earth instruction and demonstrations.

Pears in the Studio

(Anuk Naumann)

20.5 × 20.5 cm (8 × 8 in)

In this latest publication, the problems covered are those encountered specifically by watercolourists, although you may find that the ideas are relevant to painting subject matter in other media too. Watercolour is a wonderfully expressive medium, offering endless opportunities for portraying subjects, but it can be unpredictable and you may need guidance to overcome sticking points and reach your full potential. Here you will find a myriad of different watercolour problems which cover topics ranging from finding inspiration, using your chosen colours to their greatest effect and working up pictures from sketchbooks, to creating impact through tone control and recognizing the point at which to stop work on a painting. The subjects covered are also numerous and feature landscapes, seascapes, interiors and still-life paintings, as well as nudes, flowers and fabrics amongst others. There is something of value to every painter, whatever their level of skill.

Venice (Judi Whitton)

25.5 × 33 cm (10 × 13 in)

Each of the questions posed has been tackled by well-known practising artist-tutors with empathy for students’ concerns and needs. These include John Lidzey, Paul Riley, Ray Balkwill, Tom Robb and Judi Whitton, who offer advice based on their own approach to the subject or problem in hand. The result is a cornucopia of information, advice and inspiration to encourage watercolour painters of all levels of experience.

Publishing Editor, The Artist

1

A MATTER OF SUBJECT

What shall I paint next? Can you suggest new subjects that will stimulate renewed inspiration?

Answered by:

John Lidzey

The problem of finding a subject to paint seems to affect many artists, while others appear to have no trouble at all. From my own early experience I know the frustration of wasting a morning in failing to find something worthwhile to paint. It might be seen, I suppose, as a condition that is similar to writer’s block.

LANDSCAPES

For those within reach of a park or the countryside a landscape is always a stimulating subject. But one problem that occurs with many landscapes, especially those painted in watercolour, is that the results can look unexciting. Quite a few that can be seen in local exhibitions are views painted at midday (or thereabouts) in mild sunny weather. In many cases the scenery lacks any real interest, often being just a panorama of trees and fields.

Houses by the Mere at Diss

15 × 47 cm (6 × 18¹/₂ in)

Houses in trees can make a very good subject. A sketch like this can provide a satisfactory reference for a finished painting. When the weather became wet I completed the view from my car.

There are more interesting possibilities to be found in landscape subjects related to twenty-first-century agriculture. The technology of farming is changing. Heavy machinery of all sorts now does the work of many people. Although lacking the rustic charm of nineteenth-century farm equipment modern farming machinery offers challenging painting subjects.

For those who have no interest in the current farming scene, yet wish to produce interesting landscapes, there is always inspiration to be gained from making the weather a dominant feature. Working just from sketches made on the spot, it is possible to create paintings in the studio with an appearance of rain and wind. Some excellent techniques for depicting these effects are shown in Patricia Seligman’s book Weather – How to See It, How to Paint It (unfortunately out of print, though your local library may have a copy). You may also find Turner’s landscape work to be useful in this context. Try to see some of his watercolour paintings and sketches in Tate Britain at Millbank, London, or at least in reproduction in the many books on his art.

Liverpool Street Underground

18 × 17 cm (7 × 6¹/₂ in)

Inspiration can even be found below ground. I kept this painting very loose, allowing the paint to run freely, dropping pure colour into wet washes; I further broke up the imagery by flicking colour onto the painting surface.

STREET SCENES

There is also great potential in urban scenes. A good way of working in cities is to make sketches and to take photographs. These can often make excellent references for finished paintings that can be produced in the studio or at home. Many years ago, when I lived in London, I spent many early mornings sketching in local streets from the comfort of my car, afterwards taking a photograph of the same subject to correct any infidelities of scale or perspective in my sketch.

While you are in the city with a camera see if you can use it in some of the less public spaces. Open-air cafés can make splendid subjects. Buses, trains and railway stations can be good to paint, too. Many cities have a river running through – look at the possibility of photographing and sketching from a bridge. Beautiful effects can be obtained with the sun reflecting off the surface of the water. Additionally, you could try using your camera at dusk in the city – you can capture some really magical urban scenes in the half-light. There can be a wonderful air of melancholy encapsulated in a lighted window with the curtains drawn just as dusk begins.

INTERIORS

Subjects taken from towns and cities can make expressive pictures. These are public and impersonal, but domestic settings can show intimate moments that are intriguing. I cannot pass the lighted window of a house without just the shortest peek inside. Interiors are like stage sets waiting for the play to begin and a painting of an interior can have the same theatrical quality. Kitchens, bedrooms, bathrooms, hallways and sitting rooms can offer interesting subjects.

St Paul’s Cathedral at Night

35.5 × 40.5 cm (14 × 16 in)

Cities at night offer interesting subjects. It is best to work from a photograph rather than try to create anything on the spot. In this case I introduced silhouettes of houses in the foreground to reinforce the floodlit effect. Loose brushwork was used for the sky to give it interest.

If you have not tried painting an interior before do not be too ambitious at first. Begin with the simplest of subjects; perhaps a chair against a plain wall. Maybe an item of clothing could be draped over the back. A picture of some sort could be positioned on the wall behind the chair. A simple theme such as this can be very worthwhile. The light and shade from a nearby window can create interesting patterns on the wall. Such a subject can help develop your observational skills and your drawing ability. If you find the drawing a real problem you could take a photograph and work from that, but only use the photograph for drawing reference. When it comes to the painting stage rely on what you see in the subject, not what is in the photograph.

Windows painted from the inside looking out can make good subjects. A table placed close to the window with such articles as a plant, flowers, jug, vase or bowl of fruit could work very well. If the window has a sunny aspect this could be an added bonus. Remember, however, that patterns of light and shade change very quickly. The sunlight can be totally different within an hour or less. If you are quick enough you could make a quick pencil sketch that identifies the light and shade at a particular point in time. Alternatively, take a photograph!

In a Bedroom

51 × 30 cm (20 × 13 in)

A figure sitting against a window makes an excellent subject. A semi-silhouette like this can be easier to work on than a figure illuminated from the front or side. Here I used limited colours: mainly Yellow Ochre, French Ultramarine and Indigo. For the highlights I used white gouache.

Doors and doorways always make fascinating subjects. A view through a half-open door can be an intriguing possibility. The viewer of the painting is left in suspense about the part of the room that cannot be seen. Experiment with this kind of subject. Position yourself in relation to a half-open door so that something interesting is in view, possibly a figure looking out of a window. If the view is into a bedroom maybe some discarded clothing might be seen or even just hinted at. Other possibilities might be an open cupboard door revealing the contents, an untidy chest of drawers with items spilling out, a table set for a meal or part of a dresser with chinaware. These are eminently paintable subjects, which in many cases are not too difficult to draw (with a little practice). The joy of such simple subjects is that they are readily available and unlike outside ones the state of the weather is not a consideration.

Bonnard and Vuillard devoted most of their lives to interiors, producing work that enthrals and fascinates the public and critics alike.

Gardener’s World

23 × 30.5 cm (9 × 12 in)

A few items in a garden corner can be all that are needed to make an interesting subject. I have positioned the watering can and a flower pot at odd angles to suggest an untidy effect. The weeds and stones contribute to a feeling of neglect that is slightly at odds with the title of the picture.

THE STILL LIFE

Still life has been popular with artists since the sixteenth century. Early examples of the form were laden with symbolism, chiefly to remind the spectator of the transience and uncertainty of life. Thus an arrangement might consist of butterflies, skulls, mirrors, candles, hourglasses and similar objects that hint at the temporal nature of human existence. Even now we are subject to an unpredictable course of events, so perhaps there is still room for such items gathered together to form the subject for a meaningful still life.

Antique shops are an obvious place to start looking for appropriate and interesting objects, although these are often expensive. Charity shops and car boot sales are alternative sources of unusual items, going cheap. It is surprising how battered, rusty items can make good subjects for a still life, especially if placed in conjunction with something delicate and fresh. Imagine, for example, a composition created from a broken framed mirror and a few flowers, especially with the right kind of lighting. An anglepoise lamp, its light directed from an oblique angle, could provide dramatic lighting for a really interesting painting laden with ‘symbolic’ meaning.

Allow yourself to be influenced by the late still lifes of Cézanne, whose simple arrangements of everyday objects were the basis of a series of inspirational paintings. A plate, a glass and some apples can be all that is needed. If you are uncertain about handling complicated subjects, a simple arrangement of no more than three or four pieces of fruit is all you need.

Still Life with Glass Jug

42 × 56 cm (16¹/₂ × 22 in)

Just a few objects of varying colour, shape and texture can be stimulating to paint. I carefully drew and painted this set-up to provide a ‘realistic’ quality, but a much looser treatment can also make for an interesting painting. Keep your eyes open in antique shops for items that have particular qualities.

Think about a still life based on a particular theme – a kitchen-based subject, for example. Such simple items as a saucepan together with some vegetables imaginatively grouped together and suitably lit, could make a wonderful subject for a watercolour painting.

Kitchen equipment has lots of potential for still lifes. Choose from scales, mixers, sieves, bowls, knives, graters, whisks and similar items, plus the items of produce and foodstuffs that may be found in most kitchens. Broken crockery in the kitchen offers a marvellous subject for a still life. For example, a teapot, a sugar basin, a saucer, a broken cup and some spilt tea could make an intriguing painting.

MANY POSSIBILITIES

Think about your subject matter well in advance of starting work. Do not just stretch a sheet of paper and then wonder how to fill the space. Always be on the lookout for suitable subjects and keep notes about your ideas.

You might see a painting in a gallery that could spark off an idea of your own, or two objects in conjunction with one another. Good subjects do not just present themselves – they have to be thought about and created through observation.

2

FRESH START

I don’t like this painting – it’s so tired and lifeless. Can you help?

Answered by:

John Mitchell

The first thing to appreciate is that, at times, everyone has this problem. Let us look at how you can give yourself the best chance of producing fresh and exciting works.

Choice of subject matter is important. Go for something original, not secondhand. Go for something exciting, not dull. Go for something you know about, something that arouses your curiosity, that ‘turns you on’. Fine words, but how do you do it? The answer is to explore the world around you in your sketchbook.

I cannot emphasize the benefits of using a sketchbook enough. Forget about copying other people’s paintings or photographs. Forget about that lovely calendar, or the postcard from a friend. Find your own subject matter. Here is a list to think about: family and friends, gardens, parks and holiday resorts, harbours and docks, beaches and woods, plant and mechanical forms. You could use a favourite poem or an excerpt from a book, even a piece of music. Visit exhibitions and look at art books to find inspiration.

I developed thumbnail composition sketches from a previous pencil sketch.

PRE-PLAN YOUR PAINTING

Launching right into a painting from a sketch without doing some pre-planning is a mistake. You may find, too late, that one object should not be in, or needs moving – so out comes the sponge to remove it. Perhaps that colour looks wrong – it has to be changed. Perhaps that dark area needs to be lightened. No wonder the colour quickly becomes tired and the paint surface deteriorates.

These two sketchbook studies were made in fine felt-tip pen in an A6 sketchbook. It is essential to collect source material in this way. As you finish each book, file it away safely. It will provide material for years to come.

Looking East from the Serpentine

12.5 × 28 cm (5 × 11 in)

This is a favourite location for landscape to which I return again and again. This version was developed from one of the thumbnail sketches illustrated opposite. I attempted to keep the colour fresh and lively throughout and worked to a limited amount of time.

Take time to plan your composition on a small scale before you start. Make a few thumbnail sketches to make sure everything is in the right place. Do a small colour sketch and even a tone sketch so that you can begin your final painting with confidence.

Think about the right size of paper for the idea. Obviously, a single book of watercolour paper limits you, so buy paper in individual sheets to have the option of working to any size. Give yourself enough room in which to work; every painting needs its own space.

Perhaps the subject would be best done on tinted paper. So why not try a small sketch or a range of colours before making up your mind?

Having got the composition and paper size right, think about some technical details, such as choosing a suitable brush. I frequently have to suggest to students that they should try using a larger brush. How can a fresh, exciting painting be made by fiddling away with a very small sable? It’s impossible. Sable brushes are expensive, but you do not have to use these. Ranges of excellent synthetic brushes are available. You could also experiment with decorator’s brushes.

It is worth trying out your different types of brushes to see what effects you can achieve. A sable brush will make a different mark from a harder hog brush, while a soft goat’s hair brush will be different from a synthetic bristle. A same size hake or chisel-shaped brush can be used to produce both broad and detailed marks.

Having chosen a suitable brush, use it to put the colour on, then leave the painted surface alone! Try not to fiddle with your painted areas once they are done. We are all tempted to go over areas we like but this must be resisted at all costs if a ‘tired’ painting is to be avoided.

LIMIT YOUR COLOURS

A simple way of getting fresh colour is to use a limited range of pigments and to try to mix only two colours together. Here is my recommended list for a basic palette: Lemon Yellow, Cadmium Yellow, Cadmium Red, Permanent Rose, Coeruleum, and French Ultramarine. These six colours will give you unlimited mixtures. Adding Burnt Sienna and Burnt Umber will allow you to mix dark shades easily.

A sample range of colours from my suggested palette. Try using a restricted palette and explore it by making simple exercises.

Notice that I have omitted black. Unless used carefully black can produce a dirty-looking mixture. Mix French Ultramarine and Burnt Sienna or Burnt Umber to get a rich dark tone. All the illustrations for this chapter have been painted using this palette.

It is important when mixing a wash to make more than you think you will need. There is nothing worse than running out of colour two thirds of the way through covering an area, and allowing the edge to dry out as you try to mix more. Remember, too, that washes often dry lighter. When painting some areas, such as the sea, you can miss out tiny areas of the wash, allowing the white paper to sparkle through.

Have you tried working onto damp paper? This allows colours and washes to flow together loosely. It also encourages accidental effects that can add excitement to any painting.

LIMIT TEXTURES AND TIME

It might help to reduce the range of textures you include in each painting. Unless done selectively, textures can produce a rather tired surface.

Have you thought of working to a time limit? This is another simple way to keep your paintings fresh. It certainly helps to answer the old question of ‘how do I know when I’m finished?’ Using a time limit will give a sense of urgency and attack to your work. If combined with thorough preparatory work, this is an excellent stimulus to producing a fresh painting.

Woodland Study

15 × 21 cm (6 × 8¹/₄ in)

A large brush can be used in different ways: full width for broad effects, edgeways for linear work. The corner can be used for detailed areas. Try to use a bigger brush than you think you need – this will avoid your ‘fiddling’ with the painting and spoiling your work.

Evening Tide, Largo Bay

10 × 21.5 cm (4 × 8¹/₂ in)

I allowed myself only 40 minutes to complete this painting. The discipline of working to a fixed time encourages freshness in any painting.

USE CLEAN WATER!

It is impossible to produce clean, lively paintings using dirty paint brushes and water. I know this seems obvious, but it can be forgotten about. Before starting to paint, rinse your brushes out in clean water to get rid of any accumulated paint. A wash can be ruined if brushes are not clean.

Given that water dirties very quickly, how can you keep it fresh? The answer is not to use just one small water jar. You need a water source for cleaning brushes, and another for colour mixing. Use a plastic bucket of water in which to rinse your brushes, and a smaller jar to hold clean water for mixing. Make sure that you replenish this smaller jar regularly.

If you follow some, or all, of the advice in this chapter you will eliminate any ‘tiredness’ in your paintings. This will give you more pleasure from your work, as well as improving its quality.

Seascape

18.5 × 11.5 cm (7¹/₄ × 4¹/₂ in)

This small painting was started with a variegated wash onto damp paper. This encouraged colours to flow together in a clean and spontaneous way. After allowing this first wash to dry, other washes were laid on top to suggest mountain and wave forms. The white highlights were scratched out with a sharp blade.

3

START TO FINISH

Why do I have problems working up a satisfactory finished picture from an exciting sketchbook study?

Answered by:

Judi Whitton

Racing home, we rounded the bend. Suddenly, before us was the most lovely subject for a painting. We quickly parked. Time was limited, so out with the sketchbook, and I made a hasty study in pencil with just the essential details – a little tonal shading and a few colour notes. I took a photograph and jumped back in the car and we carried on with our journey.

Winter Scene

15 × 20.5 cm (6 × 8 in)

It was a dull, rainy day. I sketched from the car and there was little tonal contrast. It all seemed very unpromising but my sketch (right) became a challenge. I tried to compensate for the narrow tonal range and emphasized any local colour. Above all, I stopped while the painting still had the ‘sketchbook feeling’.

FROM SKETCH TO PAINTING

Some time later, back in the studio, I used my sketch as a reference to complete a successful watercolour painting that exactly portrayed my impression of what I had seen.

Or did I? In fact, it is most unlikely! In the ideal world this is what is expected; after all, Turner produced some stunning watercolour paintings based on little spidery sketches. He travelled on horseback without the company of a state-of-the-art camera. So why is it so difficult? What is the missing link?

This is the dilemma. How often have I heard a fellow artist say that they were pleased with their sketch, but disappointed with the finished painting. I have had many long and intriguing discussions about the problems that arise when working up a successful painting from a promising sketch. These problems can occur either in the studio after the sketch has been made, or outside when a sketch has been used as a preliminary to the painting.

I do not believe that the basic problem lies in how the sketch itself is made. Whether it is a thumbnail sketch, a detailed line drawing, a tonal study or even a little painting, there seem to be many pitfalls before the final painting is produced. The problem seems to lie in how the sketch is used to produce the painting.

Hidden Treasure

32 × 48 cm (12¹/₂ × 19 in)

What an irresistible subject! But I was careful in the way I painted it. The sketchbook enabled me to choose the angle I liked. As in Winter Scene, the light was so poor that a photograph was impossible, and my sketches were invaluable.

WHICH SKETCHES SHOULD I USE?

The first question to ask yourself is whether the subject is right for a finished painting. Some people might think that a particular subject is ideal for a sketchbook study but there is not enough ‘weight’ in it for a finished painting. The magical thing about being an artist is that there are no rules. The illustrations here show the sketch and final painting of a winter scene. I framed it like this because I felt I had finished it, even though there was not a great deal of content. I did not really have any more to say and hoped I had caught the essence of the subject. But what was most important was that this picture still had the ‘sketchbook feeling’ about it.

HOW TO KEEP THE SKETCHBOOK FEELING’

Is the ‘sketchbook feeling’ the missing link? What is it about an artist’s sketchbook that we all love? I have often watched artists demonstrate at our local art society. Usually they bring along a few of their finished framed pictures and then generously pass round their sketchbooks while doing the demonstration. Somehow, the sketchbooks never get very far round the room because someone in the audience becomes totally absorbed in it.

Why is it that the sketchbook is so fascinating? So often it is full of life and vigour and a sense of spontaneity, which is sometimes lacking in the framed work. Also it is a ‘private’ thing. A sketchbook is for the artist’s use. Generally it is not intended for public scrutiny, so there is a personal feeling about it. It is these qualities of spontaneity and ‘personal’ experience that you should strive to hold onto in the finished work.

CHOOSING THE SIZE OF THE FINISHED PAINTING

Having decided that you would like to use your sketch as the basis for a watercolour painting you then need to decide what size of paper would be best. If the sketch sits comfortably on the page it is probably useful to use a piece of paper for the finished work that is of the same proportions as the pages of the sketchbook. This seems obvious, but it does help!

As regards the size of paper, as ever, there are no rules. I suggest that you envisage the final picture and imagine what would look best. A detailed sketch of a busy street scene can look charming as a small picture, whereas a simple expansive beach subject might be perfect on a grand scale where the brushstrokes can be bold.

Sarah and Barbara Painting Florence

24 × 29 cm (9¹/₂ × 11¹/₂ in)

I had intended to depict the wonderful panorama of Florence. But who could resist concentrating on my friends, settled in the grass? I realized from my sketch that I needed to change the emphasis of the painting.

USING THE SKETCHBOOK

I came across the subject for the painting Hidden Treasure (opposite) a few miles from home. An old Jaguar car was well hidden in the foliage. I was a bit worried that the subject was rather whimsical and I was most anxious not to make it too pretty or ‘greetings cardish’. Although the light was poor and it was a little boggy underfoot I hoped that I would have time to do the painting on site.

I made a few sketches of the car and trees from different viewpoints. On this occasion I was using the sketchbook to investigate different compositions rather than with the intention of preparing a subject to work into a finished painting in the studio. The sketches would also be useful if interrupted during my painting.

Pisa

21.5 × 26 cm (8¹/₂ × 10¹/₄ in)

I tried to keep ‘fresh eyes’ as I looked at this familiar place. The sketch needed to be accurate and it helped to incorporate the movement of people into the composition.

By walking around the car and sketching I was both studying the subject and thinking about how to paint it. (I took a photograph, too, but when I looked at it later it was totally useless as the car was completely hidden in the shadows.) I was most anxious to convey the impression that the trees and car had become ‘one’ and to keep a lively feel to the foliage. I tried hard not to overwork the painting, and this is where sketches can help to form your ideas at the beginning.

In Sarah and Barbara Painting Florence on my sketchbook was invaluable. I was painting in Italy with my friends. After problems with onlookers I had tucked myself away in a quiet spot. We were in the Boboli Gardens overlooking Florence and the weather was showery. My friends settled down on the grass. They were much farther apart than shown in the painting and I used the sketchbook to bring them closer together and to position them sympathetically with the panorama in front of us. I had originally intended to concentrate on the wonderful view of Florence, but I could soon see from my sketch that my friends were the most important part of the painting! In addition to this the sketch also became my insurance policy in case my friends moved position, or the threatening rains arrived.

Churchyard, Stow on the Wold

38 × 43 cm (15 × 17 in)

This was painted on the spot with no preliminary sketch. I wonder if it would have gained or lost had I done one?

ACCURACY AND MOVING SUBJECTS

The leaning tower of Pisa (opposite) is so well known that it is difficult to keep the spirit of the place and to paint it as if you are looking at it for the first time. Also I had to ‘edit’ extensive ‘rescue’ works around the base of the building. It was hard not to exaggerate the ‘lean’ on the tower. In this case the sketch needed to be accurate as well as conveying the beauty of this exquisite structure. It was interesting to observe that the flagpole on top of the tower was vertical. Here the sketchbook was useful, too, to record the people and incorporate them into the study, rather than make them look as if they were an afterthought.

DO I NEED A SKETCH?

The painting of the Churchyard, Stow on the Wold (above) is included here even though I decided to make no preliminary sketch for it. I looked at the subject for some time and made decisions, and then just painted it. Sometimes I prefer not to give any concentration to the sketch and save all my resources for the painting. Bearing in mind the expression ‘analysis leads to paralysis’, I worry sometimes about the slight risk of over-preparing for a painting and going a bit stale, especially as watercolours often benefit from a feeling of spontaneity. But there is no substitute for doing a lot of thinking before and during the painting.

OVERALL VIEW

From these experiences I have tried to learn the best way of interpreting sketchbook studies. The major problems have arisen when my sketch looked very acceptable and I have simply used it to complete the finished work without ever establishing what the sketch was really about. Somehow, these pictures lack vitality. Although considerations such as composition, tonal balance and colour relationships are important in all work, it is the feeling that the painting evokes that makes it special.

To summarise: there are no rules. If you like your sketch, think about what it is that you like most. Extract the essence, and keep that idea uppermost in your mind as you tackle the painting. When you feel you have ‘said it’, it is time to stop.

4

ENHANCE YOUR COLOURS

How can I use colour to give vitality to a subject and make it appear almost more real than it is?

Answered by:

Paul Riley

When painting it is natural to regard colour as like for like. By this I mean that we tend to see the view before us as a kind of photograph where the colour is local, sometimes given vibrancy by the sun. However, when it is painted as such the result often looks disappointing, drab and dull, rather like an instant photograph. The reason for this is that the colour is not exaggerated enough.

HEIGHTENING COLOUR

It helps to remind yourself that you are compressing nature into a smaller format. The vast landscape, for example, is to be reduced and distilled to fit onto a piece of paper or canvas in such a way as to indicate the intensity of the sun’s effect on foliage, water, flowers or flesh.

Autumn Tree 1

29 × 39 cm (11¹/₂ × 15¹/₄ in)

This was painted in primaries and secondaries using only the six colours described in the text. They were applied in various ways from stripes to dots and merging soft edges.

This approach applies, I believe, to all media on all surfaces. Thus, when thinking about how to represent a blank white wall it is necessary to see all the subtle nuances of colours that are present in it in order to make it appear real.

For example, the blue of daylight from an adjacent window will merge into violet where the white of the wall picks up the red-orange electric light. This, in turn, can cause yellow casts, which can then be tinted again by light bouncing from the floor covering, whatever that may be. All this is apart from any surface blemishes on the wall that can add further colour variations.

When seeing these variations a painter needs to heighten them to make the subject appear almost more real than it is. The same, for example, applies to shadows that are not necessarily the grey drab areas that they seem. Look deeply and you will see that they reveal colours more vibrant than their illuminated counterparts.

Autumn Tree 2

29 × 39 cm (11¹/₂ × 15¹/₄ in)

I repainted Autumn Tree 1 using the complementary colours. This resulted in some exciting surprises – blue tree, orange sky, red fields!

COLOUR MECHANICS

To understand how to apply colour you need to know how it works. In transparent media like watercolour, inks and transparent acrylics there are two issues to consider: chromatics, and pigment behaviour. In opaque media pigment behaviour is not critical. Chromatics affects all media, and may be divided into hue and tone. Hue refers to the colour of something, tone to the lightness or darkness, within a particular hue. A hue – primary, secondary or tertiary – is specific.

Let us look at the primary colours. The first point to note is that the colour manufacturer cannot make an absolute primary. Red, for example, will invariably be tainted by the other two primaries: blue and yellow. Yellow and blue are also similarly affected – yellow by red and blue; blue by red and yellow.

Understanding this radically affects secondary colour mixing. Examples of these primary types are as follows:

1) | yellow red | = | Cadium Red
| blue red | = | Permanent Rose (quinacridone)
2) | red yellow | = | Cadmium Yellow
| blue yellow | = | Lemon Yellow
3) | red blue | = | French Ultramarine
| yellow blue | = | Phthalo Blue

Therefore to mix true secondaries from these primaries you should use the following colours:

1) | Green: | mix a blue yellow – Lemon Yellow – and a yellow blue – Phthalo Blue.
2) | Orange: | mix a yellow red – Cadmium Red – and a red yellow – Cadmium Yellow.
3) | Violet: | mix a red blue – French Ultramarine and a blue red – Permanent Rose.

Any other mixes from these colours will produce a tertiary colour, which is perfectly acceptable but must be understood as such. For example, mixing Cadmium Yellow with French Ultramarine is the equivalent of mixing yellow, blue and a proportion of red. Producing tertiaries like this is a way of neutralizing a colour.

Primaries

(left to right): Lemon Yellow (yellow and blue); Cadmium Yellow (yellow and red); Permanent Rose (red and blue); Cadmium Red (red and yellow); Phthalo Blue (blue and yellow); French Ultramarine (blue and red).

True secondaries

(left to right): Lemon Yellow and Phthalo Blue; Cadmium Yellow and Cadmium Red; Permanent Rose and French Ultramarine.

Tertiary secondaries

(left to right): Cadmium Yellow and French Ultramarine; Lemon Yellow and Permanent Rose; Cadmium Red and Phthalo Blue.

Tertiaries break down into three groups: red biased (more red than yellow or blue), which are termed browns; yellow biased, which are beiges; and blue biased, which are greys.

COMPLEMENTARY COLOURS

So far I have talked about hues in isolation. However, when they are put adjacent to one another various things occur that affect the eye, which, in transmitting the information, can excite the brain. The complementary colours of red and green, blue and orange, yellow and violet, when seen in close conjunction, excite the brain because although the eye sees two colours – for example red and green – it is, in fact, aware of three: red, yellow and blue.

The artist can use these conjunctions to draw the viewer’s eye to specific parts of a painting or to enhance a particular colour. When the principle is applied to neutral colours you are able to pull forward primaries or secondaries in painting. For example, a red will come forward in a painting if the colour surrounding it is a green grey.

Autumn Tree 3

29 × 39 cm (11¹/₂ × 15¹/₄ in)

Finally, I painted the subject using all neutral colours: browns, greys, beiges, which were mixed using the primaries. The near blacks, for example, were obtained by mixing Trench Ultramarine with Phthalo Blue.

COLOUR SCHEMING

In order to stimulate a way of seeing a subject you need a scheme or method to counteract the obvious. One way I do this is to break down the colour zones in front of me into primaries and secondaries in their various tones, cutting out all tertiaries. So, for example, greys will be either blue or violet; browns, red or orange; beiges will become yellow or orange. I then produce a colour sketch based on this to see how powerful the effect will be.

Subsequently I will produce another study where I will replace all the colours with their complementaries: so greens will become red; violets will become yellow; and oranges will become blue; and so on. This will produce quite startling combinations with red trees, orange skies and yellow shadows!

To complete the process I then produce a sketch that employs the best of both worlds. I find that the colour choice is purely subjective and can have many variations. In a painting where boldness is the criterion this method helps to release inhibitions about local colour and enables the painter to adapt colour to his or her choice.

VIBRANT NEUTRALS

On the basis of the previous exercise I like to look at how I can make my neutrals sing to a similar tune. The way to do that is to think carefully about their mixture. Greys can vary from blue to green to violet, and depending on which colours they are to complement will vary accordingly. Green grey to red, violet grey to yellow, blue grey to orange are some of the options.

Devon Village

57 × 76 cm (22¹/₂ × 30 in)

When painting a vista like this the likelihood is that the whole picture could look oppressively green. To counteract this you need to search for every other colour possible, hence the violet, blue and gold trees, and yellow fields, with blue and mauve skies. All the neutral colours have been enhanced by making them positively complementary to their adjoining colours.

Browns do not have to be ‘mud’ if seen in this context. By varying the amount of red, yellow or blue, to complement the colour it is adjacent to, you can enhance the quality of your browns an immeasurable amount.

When mixing any of these colours it is as well to bear in mind that the increments to change the colour may be very small, so colour testing on an adjacent piece of paper will help to avoid disappointment. Be brave, be bold!

Plums and Roses

47 × 57 cm (18¹/₂ × 22¹/₂ in)

I tried to obtain the strength of colour in this painting by contrasting the deep-toned primaries with pale secondaries and even paler neutrals. The greys were all mixed to complement the vibrancy of the yellows, so where the yellows tended towards orange the greys were bluer, but where the yellows were more green the greys had more red in them. This is not a hard and fast rule, but it pays to think about it.

Coombe Courtyard

57 × 76 cm (22¹/₂ × 30 in)

The strength of colour in the painting is due to the preponderance of primary and secondary colours, which have been used unadulterated by mixing on the paper rather than in a palette. One other way of ensuring the clarity of the colour is to employ the white line technique to ensure that passages of colour do not overlap and thereby cause unnecessary tertiary mergings.

5

TIDE LINES

How do I make my boat and harbour scenes look more convincing?

Answered by:

Ray Balkwill

For many artists there is nothing more inspiring than sketching or painting in a bustling harbour. It is also one of my favourite subjects to paint. So why do many painters find the subject so difficult?

Perhaps it is because harbours hold so much subject material in such a confined space. A jumble of buildings, boats, people, mud, water, and much more, is a lot to take in and can be confusing at first sight. Another problem is the tide; the whole scene can change completely in a matter of minutes. Many students seem to find drawing boats difficult, too, and the thought of groups of tourists peering over their shoulder can be a daunting one – particularly if they have never drawn a boat before. ‘I can’t draw boats ’ is something I frequently hear on my courses.

Quayside, Looe

26.5 × 36.5 cm (10¹/₂ × 14¹/₂ in)

Here I particularly liked the contrast of sand, still reflections and moving water, with the tide on the turn. I added some of the highlights using white gouache. Remember, light boats reflect darker and vice versa.

Low Tide, St Ives

26.5 × 36.5 cm (10¹/₂ × 14¹/₂ in)

This painting of the harbour at St Ives, Cornwall, was done from a sketch and photograph. St Ives is all about light, so here the sky in the painting plays a big part. The verticals – the lighthouse and masts on the boats – are also important as they link the sky to the landscape.

The reasons are numerous, but many students have never even tried to draw boats. Many feel nervous because they know nothing about them. However, drawing and painting boats well does not mean that you have to fully understand their construction, though it helps if you have a little knowledge, or certainly an interest in the subject.

DRAWING BOATS

We tend to draw what we know from experience, rather than what we see with our eyes. Therefore, observing both objectively and analytically is something you must learn to do if you wish to improve your marine scenes. More often than not, boats are the focal point of a painting; it is important they are accurately portrayed, or at least look seaworthy. That does not necessarily mean adding more detail. What you leave out is often more important than what you put in.

The materials you choose for sketching will depend on your own preferences. Mine consist of an A3 cartridge pad, black felt-tip pens, charcoal and Conté crayon. I also use a smaller A4 landscape sketchbook for watercolour as well as tinted pastel paper (stretched) for watercolour and gouache.

There are no short cuts to drawing boats; it is a case of measuring and checking relative heights and widths and making constant comparisons of proportions. I find boats more interesting when they are viewed in three dimensions; that is, where the viewpoint is such that the length, width and depth of the boat can all be seen. However, I often like the simpler, two-dimensional view, which may be the boat side-on, or perhaps looking from the bow or stern.

Boats can be a real problem if the tide is in and they are moving about in the water. But do not let that put you off; just decide on the best position of the boat, be patient and work quickly. Remember, though, the chances are that it could be taken out on a fishing trip at any time!

Many of my paintings are done at low tide. This is for a number of reasons, the most obvious being that the boats do not move around. But I also find that the whole structure is visually far more interesting. When they are tilted on the mud, as in Low Tide, St Ives, their masts create further compositional interest. I also find that low tide can create far more interesting shapes and contrasts than high water. Tidepools, seaweed, ropes and rusting chains can be exciting elements in a painting, of which Polperro Harbour on is a good example.

Making boats ‘sit’ on the mud, or float on the water is another common problem. Many students do not make the shadows, or reflections, quite dark enough, so that boats ‘float’ in mid air. With watercolour I often merge a wet-into-wet wash of the keel into the sand or water, making it difficult to distinguish between the two.

Photograph of Polperro Harbour

Choosing your viewpoint and your eye level is very important. You will find boats viewed from the quayside, where you have to look down on them, quite difficult as you will have to consider perspective and foreshortening.

COMPOSITION

Let us imagine you are on one of my painting courses and we go together to the picturesque harbour of Polperro, in Cornwall. Take a look at the photo above. This complicated harbour scene is typical, and shows the many problems you could be faced with. It is rare to find a perfect ready-made scene – you have to create one for yourself. There are many options and permutations in every scene and, in fact, you will never exhaust the endless possibilities.

To see what I mean, have a look at the examples here, where I have arranged the elements in each picture in order to make a composition that works, based on the view above. Most marine subjects are painted in a landscape format, because this creates a sense of openness. But do not necessarily go for the obvious. You may find that a portrait, a square, or even a long narrow format is more challenging and works much better. To simplify the scene, I used three boats in each of the examples.

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