I think I’m an organised person, but I’m not sure that it comes naturally! Perhaps its one of those ‘Eat Your Greens, they are good for you’? My 2020 Art Year plan has come about through two motivations:Continue reading
Over the past 6 weeks I have taken part in a second on-line course called Find Your Voice (FYV) with Louise Fletcher. This is a follow on to the Find Your Joy (FYJ) course. You can read my review, including my results, from FYJ here. The purpose of this second course was to continue to focus on developing our own personal voices. But with an intention in mind and looking at 4 key painting principles: tone; composition; colour and mark making.Continue reading
Recently, I have been developing my watercolour approaches and starting to think about the sort of new art works that I want to create. In particular, I’ve been thinking about my watercolour development. How do I create works that are related to but distinctly separate from my urban sketching and reportage illustration? Having a studio gives me more questions and more scope!!
As I mentioned in my previous blog about watercolour, I’ve been starting to look at different media and the sorts of ‘paintings’ that interest me the most. This is fundamental to my beliefs about the purpose of paintings. I prefer the more impressionistic approaches and those that angle to a more abstract view. I prefer to allow the observer to ‘get involved’ and use their imagination! That said, I think I will always be grounded in the real world and a need to create a sense of place, at some level, in my work!
Watercolour development-Pigments, paper and brushes
I’ve started to explore colour and tone in my watercolour development. Specifically I have explored how to achieve reflective light effects and the full range of tonal values with watercolour. I’ve also started to develop my understanding of colour mixing of watercolour using a pure pigment palette. The palette I am using is here (please ignore the top row):
I’ve also started to use a selection of brushes for different aspects of painting. These include Flat brushes, a Hake, a mop brush and two rigger brushes. That is not to mention an unruly bristle one (that I haven’t used much yet!). All have their distinct role. The paper I’ve moved onto is Saunders Waterford (140 lb; 340 gsm) Not paper (see Venetian canal image below). I originally used Bockingford which I find buckles and is not as good (see Alcatraz image below).
I created both paintings shown below from photographs on a desk easel in my studio. My aim was to develop a greater understanding of tonal values and to be able to achieve the full range of tonal values in the paintings. Both were done using the pigment palette and brushes shown above.
I have evolved my thinking and my understanding about my visual work through my watercolour exploration over the last few weeks . Based on this exploration, I am keen to develop more of a textural approach in my work and a more individual response. I am struggling to see how I do that with the pure watercolour approach I’ve been following. My background in landscape design has driven a keen interest in texture and composition. Therefore I need to explore other opportunities to achieve the layering and rich surface textures that I am seeking. Previously, I have used mixed media/ collage approaches in design. I am now going to explore how these can be developed in my artwork. Watch this space!