This is today’s watercolour offering – The Lady In Grey. This is probably the closest I will ever get to life drawing! It measures 19 cm x 28 cm and was painted on Saunders Waterford high white paper, 140 lb NOT. It was painted loosely without a preliminary sketch. But I did do a pencil sketch on a separate sheet of paper first just to get a feel for the shapes and lines. Here’s my pencil sketch:
I’m hoping that practicing my drawing with a pencil in a separate sketchbook will help me to draw better with my paintbrush. The colours for the skin tones were: Buff Titanium, Naples Yellow, Quinacridone Coral and Burnt Sienna. The grey shawl was painted with a mix of Cobalt Blue and Buff Titanium to make a lovely soft blue/grey.
I like sketching with pencil in a sketchbook but when it comes to watercolour painting I much prefer to paint without a pencil sketch ~ something I’ve learnt from Jean Haines and it has well and truly stuck! However it is a challenge and I need lots of practice.
Looking forward now to what tomorrow’s watercolour offering might be…
I will begin this post with my custom built Winsor & Newton Professional watercolour paint box:
This paint box started life as a 45 half pan set of Winsor & Newton Cotman watercolours. Over many months I have gradually replaced the Cotman pans with Winsor & Newton Professional pans of my choice. The colours in this paint box have also been carefully selected to complement the colours in my Daniel Smith custom built paint box. The two paint boxes will constitute my sketching palette when I’m travelling.
There are 32 colours in my Winsor & Newton paint box…
Going from left to right and starting with the top row, the colours are:
Naples Yellow, Winsor Lemon, Indian Yellow, Winsor Red, Permanent Rose, Rose Madder Genuine, Ultramarine Violet, Winsor Violet, Indanthrene Blue, Ultramarine Blue (Green Shade), Winsor Blue (Green Shade), Winsor Blue (Red Shade), Cobalt Blue, Cerulean Blue, Manganese Blue Hue, Cobalt Turquoise, Cobalt Turquoise Light, Phthalo Turquoise, Winsor Green Blue Shade, olive Green, Permanent Sap Green, Green Gold, Yellow Ochre, New Gamboge, Raw Sienna, Burnt Sienna, Raw Umber, Burnt Umber, Van Dyke Brown, Paynes Grey, Lamp Black and Neutral Tint.
There are also 32 colours in my Daniel Smith paint box too. So that makes a total of 64 easily transportable colours at my disposal when I’m travelling. Happy days!
I picked 3 primary colours from my W & N paint box – Permanent Rose, Winsor Lemon and Winsor Blue (Red Shade) – and created a colour chart to see how many different colours I could create from them. I started with a sheet of A4 Khadi paper and drew with pencil as many boxes as I could fit on the page. When I finished I had 83 boxes, including 3 for my original primaries. That’s a lot of boxes – could I fill them all… ?? A tiny amount of doubt crept in…
First lesson learnt is to never doubt myself – of course I can fill all those boxes! I’ve done a few of these charts now and it never ceases to amaze me how many different colours/shades you can create from just a red, a yellow and a blue (and water of course)! It’s a great way to learn about colour theory and colour mixing. I highly recommend giving it a go, it doesn’t matter what red yellow or blue you use and it’s FUN !!
My next colour experiment involved Daniel Smith’s Monte Amiata Natural Sienna (MANS). I mixed it with a variety of different blues:
Firstly I love the lovely soft greys you get when you mix MANS with French Ultramarine. When mixed with other blues you get some lovely earthy greens and wonderful soft turquoise greens.
My final colour experiment for this post is about mixing greys. The ready made grey colours available to the watercolourist are quite limited so learning to mix them is pretty much essential:
Above are 12 shades of grey – 3 are ready made and 9 are mixed. Just in case you can’t read my handwriting, the grey shades are:
Top Row: Raw Sienna + Ultramarine Blue (W & N), Burnt Sienna + Ultramarine Blue (W & N), Paynes Grey (W & N), Paynes Blue Gray (DS), Neutral Tint (W & N)
Bottom Row: Permanent Alizarin Crimson + Viridian (DS), French Ultramarine + Yellow Ochre (DS), Carbazole Violet +Yellow Ochre +Viridian (DS), Raw Umber + Ultramarine Blue (W & N), Indigo + Yellow Ochre (DS), Winsor Green (BS) + Winsor Red (W & N).
Time spent playing with colour is always time well spent – there’s so much to be learnt from it. When I don’t feel like painting something “serious” or specific, some colour experiments are just the right thing and they are so much fun to do!
Walking along the beach yesterday I noticed some pretty coloured pebbles. So out came my beach combing bag and I collected a few. When I got home I selected a few with nice colours and patterns and set about painting them in watercolour.
Above you can my watercolour interpretations of the pebbles I selected. Like my sea shells in the previous post, I painted them free hand straight onto Arches watercolour paper, 140 lb cold pressed. No pencil sketches first! I used salt to create some texture on the pebbles. And after removing the salt I added some fine details with a rigger. Notice the pebble in the bottom left corner has some barnacles on top! I picked this pebble especially because the barnacles contrasted nicely against the grey stone… I like barnacles!
I’m quite pleased with how these turned out. I’ve never painted pebbles before so I wasn’t too sure what I was going to end up with. But now I’ve had a go I’ve got a taste for it. I will do some more sometime and experiment with some different techniques and some more creative colours maybe..
When I visited my sister in Cornwall a few weeks ago I spent a little time doing some sketching outside the front of her house. As the house is quite high up on a hill you get a nice view of the Cornish roof tops. So I decided to sketch a few.
I used a HB pencil on A4 sketchbook paper. This was good practice for me – I need lots of practice at drawing! Reasonably happy with my basic sketches I started to think about painting them….
My sketches were going to be painted with watercolours but first I needed to decide on what colours to use. After doing several tests on some spare paper, the colours above are what I chose to use. Cornish roof tops are predominantly grey with lots of yellow lichen growing on them. The chimney pots are lovely – very old fashioned terracotta pots in lots of lovely different shapes and styles…
You can click on the images to see larger views. I did make a classic beginners mistake when painting these – I diluted my paint slightly too much. Hence the colours aren’t quite as strong as I would like. But I’ll put that down to experience and try to improve on that in the future! On the whole though, I like how my Cornish roof tops turned out. Here’s some closer views…
Lots more sketching is on the agenda in the future to hopefully improve my drawing and painting skills…..
Welcome to week 9 of the Surface Treatment Workshop. This week my sister Carolyn and I are experimenting with Fiber Paste. We used Golden Fiber Paste – I couldn’t find any alternatives that claimed to have the same properties. I read through the prompts in the book decided I was going to begin with printing on fiber paste.
I used a cheap sheet of A5 copy paper and skimmed a very thin layer of fiber paste over it with a wet palette knife. I let it dry for a couple of hours and prepared 2 photos in Photoshop ready to print onto the fiber paste. Now, my printer has been a bit temperamental of late so I wasn’t too sure how it was going to react to having Fiber Paste put through it – I was fully prepared for a paper jam, print errors and that nasty little flashing red light on the front of the printer. But to my surprise fiber paste went through the printer fairly easily…
Fiber paste has the feel and texture of hand made paper when it’s dry – it’s lovely! The prints printed out slightly softer and lighter in colour than they would had they been printed on photo paper. If you click the images to view them larger you can see the texture of the fiber paste through the prints.
The fiber paste ended up making the cheap copy paper very strong and flexible once the paste had dried. It is a lovely surface to paint on, draw on or stitch into. I LOVE fiber paste and I’m very pleased with how my fiber paste prints turned out! This is how they appear in my STW Sketchbook:
Next I simply painted a watercolour wash over some fiber paste:
The watercolour paint has highlighted the texture of the fiber paste quite well but here’s a macro view for more detail:
You can really see the texture of the fiber paste in this image! Next I did another watercolour wash over fiber paste but this time I overlaid it with some pearl mica once the watercolour had dried:
And I also did a macro view too so you can really see the texture of the fiber paste in detail:
In conclusion the end result of this weeks Surface Treatment Workshop is that I LOVE Golden Fiber Paste! I especially like printing on fiber paste. Once you’ve printed on fiber paste you can easily incorporate the fiber paste print into mixed media art, paint on it, draw on it, stitch into it – anything really! I will be doing more fiber paste prints…
Carolyn should be posting all her workshop samples this week so please do pop over and have a look! Next weeks workshop is focusing on drawing grounds, so I need to get my drawing head on….
This week for the Surface Treatment Workshop we are combining week 7 with week 10 as they both focus on gels and speciality gels respectively, variations of the same thing.
Last week I gathered some textured things for making my own speciality gels with. I gathered some black peppercorns and some sharp sand from my garage . This is what I did with them:
In the sample above I used the black peppercorns in the top half, the “sea” part of the image and the sharp sand in the “sand” part of the image. I just laid a thickish layer of matt gel onto my surface and tipped the peppercorns and sand onto the gel. Then I just tipped off any excess. I let the gel dry and then coated the top of the textures surface with more matt gel. When the gel had dried I painted the suface – the sea is painted with indigo and touches of turquoise and the sand is painted with yellow ochre. The sand and peppercorns created some lovely surface texture and the matt gel over the top of them made the surface easy to paint.
Next a completely experimental piece! I had this idea in my head, I had no idea how it would turn out – it was either going to be very good or very bad. How did it turn out? Judge for yourself:
For this sample I used a polythene label off a 4 pint plastic milk bottle. I stuck it to my surface with matt gel in a scrunched kind of way. I let the gel dry a bit first and then I blasted it with a heat gun till the plastic label crinkled and melted. I let it cool down then I coated the top with more matt gel. When that had dried I coated it with 2 coats of white acrylic paint to blot out the remaining writing and colour from the label. The texture created from the melted plastic is awesome. I used loose washes of watercolour paint in shades of Intense Blue and Emerald, when they mixed they created a lovely shade of turquoise. I finished this sample with a coat of gloss gel, which then served to fix the watercolour in place.
Something else I gathered last week to use in these samples was some crushed seashells. Again I stuck them to my painted surface with matt gel. To be honest, they looked so lovely I didn’t have the heart to paint over them – I just couldn’t bring myself to do it! So all I did to them was coat them with gloss gel mixed with a little pearl mica (a shade called Diamond Dust) to give a little extra sparkle. You can see it catching the light in the images above and below…
In the above sample you will also notice I also used some netting from a bag of veges! I stuck it down with matt gel. The photos above of the crushed seashell samples don’t really do them justice. The reality of them is so much better…
For the above sample I used some black and some white organza, stuck it down with matt gel and melted it with a heat gun – it crinkled up lovely. I then covered it with more matt gel. When dry I finished with a coat of gloss gel mixed with pearl mica for the colour.
Click on any of the images to view them larger…
I really like using gels, they are so useful for so many things – too many to explore in this post. Gels will have a permanent home in my little work room. Next week the Surface Treatment Workshop focuses on Fiber Paste – it’s going to be interesting… !
Welcome to week 8 of the Surface Treatment Workshop. This week’s focus is on using gesso. Mostly gesso is just used to prime a surface before adding paint or other media but I decided to make more of a feature of it with my samples for this week…
In the above collage I painted four squares of gesso onto the paper – clockwise: dark grey, black, light grey and white. Then I simply added strips of vintage paper over the joins. I finished by putting four small squares of my own art work in each box. Very simple to do and a very simple design. I really like the neutral colours.
Next I decided to have a play with some tinted gesso. Using one of my larger paint mixing trays I set about mixing white gesso with acrylic paint. I found you only needed very tiny amounts of paint to turn the white gesso into some lovely pastel colours. In the sample above I used gesso tinted with sepia, indigo and just plain white gesso. Down the left side is a strip of fabric roses which I painted with indigo gesso.
How both samples look in my sketchbook.
One of the prompts in the book was to stick objects items onto the surface and gesso over them. I decided to stick some vintage lace to my acrylic paper and gesso over them:
On the left side the lace is painted with Sepia gesso and the for the blue side I used Prussian Blue gesso overlaid with some white gesso to tone down the blue a little. For the next samples I decided to add some more colours to my paint tray – to the Sepia, Indigo and Prussian Blue I added Paynes Grey, Yellow Ochre and Turquoise….
I used a large brush and a palette knife for the above samples. All the colours work really well together and the palette knife helped to create some lovely textures. This is how these samples look in my sketchbook:
More tinted gesso samples:
The samples with stripes on I used some corrugated cardboard to stamp gesso onto my paper – stamping with gesso was one of the prompts in the book we’re working from. I also stuck some of the corrugated card I used into my sketchbook. This is how both these pages look in my sketchbook:
I really enjoyed playing with gesso this week. I found my imagination ran overtime – I have so many other ideas for using gesso than what you see here but I just didn’t have time to explore them all this week. So I will have another play with gesso another time.
Just click on any of the images to view them larger…
Next week we are going to do Week 7 (which we missed out) and Week 10 together as they both focus on using acrylic gels – it’s going to be fun !
Well week 5 of the Surface Treatment Workshop has finally arrived! The focus for this week is crackle paste. I used Golden Crackle Paste and I have to say it is brilliant stuff! Using crackle paste is time consuming but worth the effort and a little patience!
I did decide to go for some blues and brown colours – couldn’t resist! The above sample is on cardboard and will go in my sketchbook. Next are some closer views of the above sample:
The crackle paste has a lovely texture to it as well as the cracking ability. I also opted for some blue and turquoise colours…
… with a touch of ochre – I do love these colours. Next are some close up views:
Not only does it take time for the crackle paste to work, I also found it takes more time than I realized to paint the crackle paste too! You have to build up the colour in layers, lots of diluted washes of colour, letting each layer dry before adding another…
The above sample I decided to call “Crazy Paving”. It is also on cardboard and will go in my dedicated Surface Treatment Workshop sketchbook. Next some close up views:
Out of all the crackle paste samples I started with three are complete which I have posted here. Two are in progress but I haven’t decided what to do next with them so I’ll leave those for a while. And one other is not painted at all yet – I will finish it and add it to my sketchbook!
My sister Carolyn will be posting her samples for the Surface Treatment Workshop in a few days, please do pop over and have look! Next week the the Surface Treatment Workshop is focusing on a Faux Encaustic technique – this could be very interesting…