One of the things that has kept me busy over the summer is my involvement in an exhibition organised by the local branch of The Stroke Association. A couple of years ago I was asked to run a watercolour workshop for a group of stroke survivors who meet in Hunstanton, Norfolk and I’ve been working with the group off and on ever since.
There’s absolutely no doubt in my mind that art, painting and drawing, can be hugely beneficial in accelerating the recovery process for a victim of a stroke. Making art builds cognitive and motor skills and it gives the stroke survivor a sense of purpose and achievement when they are able to create a work of art, no matter how simple.
The Stroke Association wanted to stage an exhibition that would showcase the abilities of those who had participated in art therapy, but they also wanted to involve other local artists to support the cause. I’m glad to say that those local artists were very generous in their support and over the weekend of August 18th and 19th we staged a very successful exhibition.
You can see a few photos from the show here and I’ll show you some more, particularly of paintings from the stroke survivors in a later post. My thanks to Rik Thornton for the photos.
I haven’t been very active on my Blog for a while, but I have been busy with various projects, some arty and some not. You know the sort of thing, holidays, cutting the hedge, plus a bit of watercolour tutoring. But now it’s September and the brushes have had to do some work, because it’s exhibition time again!
This one is another mixed show from the members of the West Norfolk Artists Association. The WNAA usually have a Small Works exhibition at this time of the year, but there’s a double theme this year – Small Works and Still Life. So my paintings will be small and still, but hopefully still exciting!
The venue is Greyfriars Art Space, St James St King’s Lynn, and the exhibition opens this Saturday 24th until the following Saturday 1st October. 10.30am – 4pm every day. Hope you can make the show some time during the week – Margaret and I will be ‘in residence’ on the afternoon of the first Saturday, the 24th.
The two works that I’m showing can be seen here, both of them about 8 inches square, plus the frame. I rarely tackle still life subjects, although I have done a few over the years, but I really enjoyed the challenge. As the size restriction was quite tight, the whole picture including frame must be no more than 12 inches on the largest dimension, I tried to make my watercolours quite colourful, to make an impact even on a small scale. I used MaimeriBlu paints, which have some vibrant colours in the range, including a nice bright Cadmium Red Light which I put to use in the Cooking with Gas work. Other colours used include Berlin Blue and Lemon Yellow.
The framed works are about 9.5 inches square, and you can see them here. Each work is priced at £125. I’ll be back with more blog posts soon, as the painting season is upon us!
Ink is a very useful weapon in the watercolourist’s armoury, and I really enjoy using it. Not in every painting certainly, but it can add a dramatic note to an atmospheric work.
On Tuesday evening I was at Downham Market Art Circle, where I met many old friends, some of whom have been coming to my classes and demonstrations for more years than I, or they, might care to remember!
This was my fifth visit to the Art Circle so I wanted to show them something different from the usual run-of-the-mill traditional watercolour. I decided to use Indian ink applied directly to the paper with a small brush, and when that was dry I painted over it with some simple watercolour washes. Although it may sound daunting, I don’t do any preliminary pencil drawing with this technique and just go straight in with the brush loaded with ink. I find that once a few brush marks are made the drawing usually proceeds okay and it looks and feels fresher than working to a pencil guide.
The watercolour washes are applied with a large brush and I keep to a very limited palette, so as not to compete with the ink. In the Morston Creek boat painting I used Maimeri Berlin Blue, Burnt Sienna and Dragon’s Blood. For my second painting of the winter tree I changed to Raw Sienna, Carbon Black and a little Ultramarine Blue Light. Carbon Black (or Lamp Black) may seem a strange choice, but it harmonises very well with Raw Sienna and makes lovely grey clouds when well diluted with water.
These techniques are great fun to try and lift you out of the normal rut of traditional watercolour. Why not give them a go!
It seems to be art club demonstration season this week. Skegness yesterday evening, Downham Market this evening and Norwich on Thursday. No rest for the wicked artist!
My brief at Skegness was pen and wash, which is a very enjoyable medium to work in. Do a drawing using a waterproof ink pen, and then apply some simple watercolour washes. You can see the result here, where I used an 0.7 Edding 1800 pen and a few Maimeri colours, mainly Ultramarine Blue Light, Raw Sienna and Burnt Sienna, although I couldn’t resist using the dramatically named Dragon’s Blood for the roof tiles on the barn.
Pen and wash is a quick medium, the great thing is to not do too much, particularly with the paint. I had it finished in an hour which just allowed me time to do another painting, this time using Indian ink applied with a brush. For this technique you really need a subject that makes a strong statement, such as this windmill against a sunset sky. I applied the ink with a number 4 round brush, a sable-synthetic mix, with no preliminary drawing. Just two colours of paint were used, Maimeri Prussian Blue and Dragon’s Blood.
For both of these paintings I used a large 1 inch flat brush to apply the watercolour, to discourage any fiddling. It’s amazing how much you can do with a big brush like that, it is a very versatile implement and keeps your work nice and free. Paintings like these are quick and fun to do, why not have a go!
Back in December I posted a couple of my recent paintings and mentioned about planning sketches as a means to making the painting process easier and less wasteful of time, paper and paint.
Rummaging around in my studio this morning I came across a pile of planning sketches and thought “I never did get round to writing about these!” So, here are three of them.
The whole idea of a planning sketch is just that, to plan how the painting will go. The three essentials of any painting are composition, tonal value and colour. By working quickly in pencil I can establish where objects will go, in other words the composition, and I can establish what will be light, dark and mid-toned. A good range of tonal values is essential to creating an eye-catching painting.
I suggest that, like me, you use a soft pencil for these sketches, say a 4B so that you can quickly shade in areas of tone. Any old piece of paper will do, I often use off-cuts of mount-board from my picture framing. The most important thing is not to work too large, as you’ll get bogged down in detail. Remember this is just a plan, so work small and work quickly. That way you can do several sketches until you find the composition and tonal value that looks the most exciting. A couple of useful things to keep in mind are “no bigger than postcard size, and no longer to do than ten minutes”.
I think if you practise making these small sketches before you start to paint, your work will soon go to a new and higher level. you will find that the only decision that remains to be taken is what palette of colours to use, which I will cover in another post. My last tip is, when you’ve got a great looking planning sketch make sure that you keep to that plan when you paint. It sounds easy but your concentration can soon lapse. Keep to a great plan and you’ll make a great painting!
I suddenly realised this morning that it’s the end of last year since I posted something on my blog, so time to remedy that straight away. The reason that I’ve been a bit quiet lately is that I’ve just had other things to do and have been away from the studio, although I’ve been doing quite a bit of teaching which I’ll tell you about in another post.
The West Norfolk Artists Association, of which I’ve been a member for many years, is having a Spring exhibition. It’s at Thornham village hall and the theme is Coast. So, here’s a coast painting that I intend to enter for the show. It’s one of a pair that use a technique that I like very much – a monochrome painting straight on to the white paper. The monochrome uses a mixture of Ultramarine Blue, Burnt Sienna and a little crimson, but it could easily be done in just one pigment such as Prussian Blue or Payne’s Grey. Leaving a large area unpainted seems to be quite effective and gives a misty feel to the composition, hence the title, Misty Day at Thornham.
The WNAA exhibition opens on Wednesday 30th March and runs until Sunday 3rd April. Open 10am – 4pm every day. Thornham village hall is on the A149 main coast road at Thornham, Norfolk, PE36 6LX.
Just to wish you all a very Happy Christmas and an inspiring, artistic and healthy New Year!
This painting was a commission for a Christmas scene to form the front cover of the December issue of the Dersingham village magazine, Village Voice. Painted on Arches 300lb rough paper using Maimeri Blu watercolours. A very limited palette of mainly Prussian Blue and Burnt Sienna with a few splashes of Cadmium Red. I hope you enjoy the painting and that it puts you in the Christmas mood. I’ll be back with more painting articles and tips in the New Year. Happy Painting!
Have you heard of Artist Trading Cards? I have to admit that I hadn’t until recently. The idea is that you produce a piece of work at the exact size of 89mm x 64mm and then offer it for sale. There are various websites that specialise in this format. You might only get say £10 for the painting, but if you produce and sell loads of them . . .
Anyway, this post is not about selling Artist Trading Cards it’s about encouraging you to have a go at producing some. When I first heard of the cards, in an article in Artist and Illustrator magazine, I really didn’t pay much attention, figuring that working ultra small was not for me. It wasn’t until the SAA (Society for All Artists) decided to launch their ‘World Record Art Challenge’ that the trading cards popped up on my radar. The SAA Challenge is to create a world record for the largest number of original artworks exhibited under one roof. And all those works have to be, yes you guessed it, Artist Trading Cards.
Now how many works might that be? Certainly several thousand, maybe tens of thousands – there are some pretty big galleries out there. But the SAA has many, many members of which I am one, so it’s possible they could pull it off. I decided to add my efforts to the pile and have produced these four miniature paintings, all featuring winter skies over Norfolk fields.
Despite being small, I used quite a big brush to try and keep it nice and loose. A number 2 squirrel hair mop did most of the work, with a number 6 round sable for a few bits of detail. All four were painted with Maimeri Blu watercolours.
You too could be part of this world record attempt. All you have to do is produce as many artworks as you like on any support, in any medium and of any subject. The only requirement is that they must be 2D, capable of being fixed to a display board and they must be the exact size mentioned above, 89mm x 64mm. Oh, and they must be dry too, no wet oils and any pastels or charcoal must be fixed.
Sounds like fun? Just paint away and when you’ve done then download an entry form from the SAA website. The link is here and you only need one form no matter how many works you submit. All entrants will have to chance to visit SAA headquarters at Newark-on-Trent to see the final display. Mine will be in there somewhere! I’ve just learned that over 8000 have been sent in already, but more are needed. The closing date is not far away, the 31st December so get those brushes working. Happy Painting!
Clouds, shadows, light. Three words that mean a lot to a landscape artist. Here are two new paintings that I’ve made in the last few days, which feature those three motifs.
Although the works look quite different they both use clouds and the varying light in the sky to draw the eye deep into the composition. The aim is to lead the eye on a journey, from the foreground to the focal point and from the focal point into the distance. In both paintings the dark shadows of the foreground act as a lead-in for the eye, pushing you through to the focus. On the one hand the little ruined church of St Felix at Babingley which is just a few miles from my Dersingham studio, and on the other the figures on the beach, with a couple walking their two dogs.
With careful use of devices such as cloud shadows cast over the landscape, it’s possible to turn the simplest of compositions into the powerful and atmospheric painting. When that is coupled with the beauty of fluid watercolour washes some people might regard the end result as some kind of ‘magic’. But it’s not, it is all about carefully thinking through the painting process and making a well judged plan before you start to paint. Often, to help the process, I make small pencil planning sketches to work out the composition and the areas of light and dark. I’ve talked about this before, but in my next post I will show you some of these sketches and talk about them some more. Enjoy your painting!
Today I thought I’d show you a couple of my larger watercolour paintings. These are both full imperial size, 22ins x 30ins, which is the largest piece of normally available watercolour paper. Yes, there is the delightfully named ‘double elephant’ at 27ins x 40ins, but you probably won’t find that in your local art shop!
Both these paintings show that, despite their size, less is more. A huge sky and a landscape with the most minimal of features is often a great way to show the real beauty of a watercolour wash. And if it doesn’t work well you can always crop it down to a smaller size. I once cropped a full imperial painting down to six inches square, but it worked!
Both these watercolours are from my personal collection, so they’re not seen very often. But you can buy prints of them, and these will be on sale at my Open Studio event on the 28th and 29th November. Ten artists around the village of Dersingham will be taking part in the Dersingham Christmas Art Trail. you can find out about all the studio in the Trail by visiting http://dersinghamarttrail.org