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    2K Ansichten16 Seiten

    Watercolor

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    explore watercolor

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    Demonstrations to follow ¢ Techniques for painting figures « Lively water scenes and reflections Ba Per ee resets Merrie eu] TUE se ect Ce wet in wet and heyond ~~ WATERCOLOUR EN PLEIN AIR The benefits of painting close to home [Crew Ire Cees SUBSCRIBE Paifiter a TO Leisure Painter AND/OR The Artist 13 issues for the shop price of 8 for just £29.50 Diana OR We will send you 13 aehvar issues for just £29.50" CP AUN including FREE p&p. RUD included in our monthl @ 13 issues for the Wamnsolsos prize draw witha. : * — EE chance to wina set of shop price of 8 Jaxell Extra Fine Pastels just £29.50" @ Every issue posted direct to your door with FREE delivery @ FREE entry to our monthly prize draw when you quote or enter code SP1409 @ FULL money-back guarantee on un-mailed issues 9 ator potoepy I would like to pay by Direct Debit Leisure Painter iThe Artist _ ["/Both magazines Instruction to your Bank or Buln ae. PIS ae Society to pay by Diect Debit Ove Tap ‘UK £29.50" every 13 ses by Dect Debit, saving over £21 seventeen snd UK(£32.50-1Bisuesby cheque or cedi/debit card, saving over £18 Subscribe to both UK(|£56.00~13isues by Direc Debit, saving over 45 ‘UK’ 60.0013 isues by cheque or cet deit, saving over £41 REPSTATERCV ONL Tove N30 |g gg 317) Your details: Tile: Initials: Surname: Address Postcode: Telephone: Email Please debit my (Visa) Mastercard] Maestro Card no, ‘ona Expiry date: __/__ Issue noWValid from _/_ ht bling ny ito 3 digit security no, (on the back of your card): “— llenclase a cheque made payable to TAPC for the amount off Post to: FREEPOST TE-RCKY-UAXL, TAPC Ltd Tenterden TN30 680. a . CALL 01580 763315 Online at www.painters-online.co.uk The Artists Publishing Company 1d (TAPC) wll hold your deta to full your subscription order. ‘are yourinforation with any tied par to share with you. if you Would lke to receive this information tick the boxes for your jane number here sprang id your mok ae Page + : Figure watching Ingrid tyon Ali Yanya How to exploit the ferrene transparent nature ‘Anna-Warie Brown Email of watercolour to annamarieb@warnersgroup.co.uk paint figures Tel: 0178 392048, Design Sarah Poole Printed by Headley Brothers Ltd, ‘The invicta Press, ‘Queens Road, Ashford, Kent Page & Al material copyrighted ivel reproduction forbidden without Lively water permission. Views expressed are not necessarily those of the publisher. Joe Francis Dowden Join Joe to paint a water scene using a variety of watercolour techniques EXPLORE Watercolour is published by TAPC (the Artists’ Publishing Company tt), Caxton House, 6165 High street, Page 14 Tenterden, Kent TN30 680, ae Telephone 01580763315 A familiar sight Ben Mowll ‘wow:paintersonline.co.uk the website for Lesure Painter and The Artist magazines Ben explores the benefits of painting time after time a scene close to home Your tutors... | Awardewinning painter, Ali Yanya, Joe Francis Dowden’s books have Ben Mowil isan elected was born in Istanbul and has painted been published globally. He has_—_—_- member of the Royal Society and taught in Istanbul and the UK. staged numerous one-man of Marine Artists. ee his work | Previously a lecturer at Mimar Shinan exhibitions and his paintings are _at the RSMMs next exhibition University, he went on to take an in collections around the word. (15-26 October, Mall Galleries, | MA in printmaking at The RCA, Visit his website at London). Find him on Facebook gaining a distinction, He currently wwvw.joedowden.com. at Sandbanks Court Studio — or ‘works at St. James's School in London. email benmow!l@hotmail.com ‘ween painters ontne.couk EXPLORE Wetercolunr September 2014 3 Transparent Layers Figure painting People watching papers are thick and resistant, 1's ‘unnecessary to siretch them. AS oy = JDL Jong as the brushes are sot and havea sharp point the brand really ‘sc an issue I prefer Round brushes in Nos. 1 to 16, Pure sable Ja superior brush, because i sts Jonger and keeps its fn point. My palette usually comprises transparent yellow, cadmium yellow. Transfer Drawing Ali Yanya introduces his unique layering technique for painting figures years by experimenting with washes. In principe, we can call ths wet on dry whieh Isallowing each layer to dry before applying the next layer What sineresting is that by verlapping shapes you end up with a painting {hat has a surprising pattern of colours and forms, The design element plays. huge olen this, such as the use of negative and postive shapes, fll anc empty areas, size relationships, ‘warm and cold colours, and tonal and colour Perspective. ‘What lead me to paint these images isthe ea of capturing a glimpse of everyday scenes ‘suggest impermanence. Italo opens up a reat number of faces, such as eeating time lapses, merging and emerging, and appearing and disappearing qualities. Previously I red to visuals this idea with = develope this way of painting over the drawing, etching and of, but! found that ‘watercolour Is the most sultale mesa, purely because o ts transparent nature, which makes [more instant and natura My compositions are heavily peopled. {ove ‘drawing and painting people because every Figure, pose or gesture creates a cllerent mood and expression. As each person has unique body language, I never run out of interest and enthusiasm to observe. Even though I mainiy do my drawings around bas stops. stations, parks and city centres, | iy to give as tle information a possible about the locaton, to avoid my work looking domestic and pedestrian. Material matters inostly use 650gsm end-pressed Arches ‘watercolour paper: work ona larger scale L ‘may choose 850g3m Rough paper. AS these 4 EXPLORE Weterclan” September 2014 raw sienna, scarlet lake, fight re burt senna, burnt umber: alizarin crimson, French utramarine, Prussian blve and Viridian green. To encourage granulation [ithe w nix transparent, semi-transparent and opacue Pigments. keto use ultramarine blue in blues, Hurples, greens and blacks, whict are made from ‘amixture of burn senna, burnt umber and ‘ultramarine. I shows the granulation cleat ‘especialy on Rough papers, and increases the ‘contrast between the surfaces. This wil ive ‘your painting a grit and substantial ok. have always used Winsor & Newton Artists ‘watercolour. Ifyou use any product long enough you lear to trust your own experiences and Understand the true nature ofeach pigment Tegandess ofthe bran. tnitial drawings Amy panting oat to oberon stds. alos nosso wok em a Dhungarh,Oseraal raving ales Yo to Demore person and ivi bcase yu Gana an iat sing the pes. ‘aie eaiancay taeda 98 sage] hea th ines ary T avid tmmeerng shapes, ate ae atte ra raving bas toh ete and ‘positive play. To transfer the drawings LLtranste the eriginal drawing onto the racing paper using a HB pencil ‘21 then turn the tracing paper around and go. ver the Ine with a 6B peel 3 Lun the tracing paper around agin and ‘sin a 2H pene irace over the nes. 1 ‘would recommend earn paper ast leaves ‘permanent mak DEMONSTRATION Figures tw watercolour This is watercolour painting at its simplest. Remember to tilt your paper accordingly while painting each layer; this will help the colours slide over one another to create a thin glaze. Step 1 To create atmosphere, | wet a third of the paper from the top, and using a No. 16 brush loaded with water | apply the colours from top to bottom. | usually tart with cooler colours or sgreys (a mixture of complementaries: blue and orange, yellow and purple, red and green) and complete the first ‘wash with warmer colours: raw sienna, light red and burnt sienna. Thisis the most important stage of painting a sets the tone. stereontinecouk “Step 2 1 use a hair dryer to dry the paper at each stage then transfer the first figure drawing onto the watercolour paper using tracing paper. The figure is painted with a slightly darker tone and stronger colour, and a contrasting colour to the background, I normally use a No. 7 Round brush, increasing the number size accordingly. Step 4 To push the figures even further back, Ladd a platform or steps, ‘making room for a new figure in the foreground As paint layer upon layer | increase the pigment in each wash. Remember to dry the paper at every stage after applying watercolour. Step 5 vsing tracing paper | transfer the largest figure to the platform, allowing it to overlap the four figures Transparent Layers ‘Step S Before transfering the second drawing on top ofthe frst figure, make sure the paint and paper is absolutely dry. As you see in the example, the figures onthe left and centre overlap the first drawing, the figure on the right is painted separately which are now very clearly in the background. To enhance the sense of depth I paint the largest figure with stronger colour and tone. To avoid your colours looking muddy, do not overlap your washes more than three to four times. ‘Always make sure you use plenty of water especialy in the final wash. EXPLORE Welerclow” September 2004 Technique Joe Francis Dowden demonstrates how to paint water as it bends, refracts and reflects light — twisting, breaking and diffusing shapes. Recreating these characteristics in watercolour is our exciting challenge, he says You WILL NEED Miscellaneous Gum arab 6 EXPLORE Weterclan” September 2014 Technique DEMONSTRATION Faversham Creek, A “< -» Step Mixa strong wash of phthalo blue, then apply ito the damp paper. Start at the bottom, then gradually weaken the wash with water as you work up the painting, 8 EXPLORE Wetercolonr September 2014 diluting the mix with water as you work up the trunk. Add touches of burnt umber here and there, and darken the base ofthe trees with Payne's grey. Add traces of branches and twigs among the splattered leaves, anda few fine branches across Step & while the phthalo blue is still wet, lay in a graded wash of indigo, ‘working from the bottom upwards and taking this colour just short of the ‘weakest part of the previous phthalo blue wash. Strengthen with more colour at the bottom if necessary, then leave to dry. Indigo tends to dry much paler than it appears when wet, so apply another indigo wash if necessary Step 9 Start the reflections by wetting a broad band of the water, &xluding the far reach of water, then add a few streaks of gum arabic. Refer to the photographs below, at Steps 10 and 17, to see the extent of the area to be wetted. Step LL Working wet into wet, add touches of burnt umber to Naples yellow then paint the reflections under the tree trunks, Add touches of Payne's grey to create more dark tones, and patches of cadmium lemon to give soft-edged reflections. Technique ‘Step LO work the reflections from the palest colours through to the darkest, bearing in mind that these are slightly darker than the tones they reflect due tothe darkness of the river bed. Start by adding a touch of burnt sienna to cadmium, lemon, then apply this colour to indicate the massed reflections of foliage. Drag the wash down to end with a broken line of horizontal ripples. Add touches of phthalo green, wet into wet, to indicate shadows. St ‘LQ Add touches of cerulean blue to reflect soft passages of light passing through the canopy of trees, mixing and blending colours on the paper. Mixa dense wash of cadmium lemon and burnt sienna, then add a streak of this, colour to indicate a patch of sunlight on the water. EXPLORE Welercolon” September 2014 9 Step 1S Usea dry brush to paint horizontal streaks of Step 14 Use water to make crisscross reflections of the dark across the vertical reflections, leaving speckles of white tree trunks down into the blue area of water. Use a mix of paper to indicate highlight. Payne's grey and the dark green on the palette to create rippled reflections. Step LS Continue working up the reflections of tree Step 16 start re-defining and unifying the structure trunks, then, using bold strokes, paint in the darks at the of the reflection. Remember that the brushstrokes in the bottom left-hand corner. Add touches of cadmium lemon, wet foreground must be larger than those in the distance. into wet, to achieve a mix of hard and soft-edged reflections. 10 [XPLORE Wetercalon” September 2014 w psintersoaline cok Technique Step LB Usea dry brush and neat cadmium lemon to create short vertical streaks of colour to represent the strong reflections of sunlit leaves. Step LF Usea small bristle brush and water to leach out a few horizontal streaks across the surface of the water. ‘Step 19 Add a few fine horizontal streaks of dark colour. Step 2O Use the bristle brush to scrub water around the ‘mass of masking fluid highlights, then use a paper towel to dab off some ofthe colour. EXPLORE Welercolon” September 2014 11 Technique Step 2L Remove the masking fluid from the highlights in the water Step 22 Re-define the reflections of tree then start to ‘mode! the highlights. Break the larger marks into smaller trunks that pass through the highlights, then ‘ones by painting over them or by wetting the paper around each shape continue to model the highlights. Use a craft knife and gently dragging the surrounding colour on to them. to scratch some of them into short vertical shapes. ‘Step 2S Now block in the distant stretch of water, laying bands of cerulean blue and cadmium lemon. Add vertical streaks of yellow, then touches of Payne's grey. Define the distant river bank with a hard edge and is reflections with soft edges. Step 24 Finally remove the ‘masking fluid from the foliage and from the distant stretch of water. 12 XPLORE Wetercolowr September 2014 wvoupintersonine coat Simplifying the scene water A familiar sight Ben Mowll describes the importance of returning regularly to paint a familiar scene using different media and under varying weather conditions ‘of my working methods when tackling a anita Landscape subject close vo home. ‘am fortunate to lve near Faversham Greek: ten ‘minutes on fot and | arrive aa painting spot that 've come to know over several years, The area can be extremely inhospitable to the palnter, as often windy and cold, but this ust frives me tobe more economical with my brushstrokes and simply geton with things. Another important challenge isthe constantly ‘hanging Water level. This tate of fux presents ifferent problems at ferent times of day. can be as calm as a milipond with beautiful reflections, but i an also be blowing a gale with ‘almost no water at al inthe creek andl simply I: this article | would like to explain someting ‘+ Faversham Creek, June, watercolour, 1420in. (35.5:5tem) sloping mud banks. I never quite know what to expect, and he tis challenge Theres Something about painting familiar objets under dierent lights and at ifferent times ofthe day’and year. Try painting the seene under diferent conltions, and tackle ein a ierent medium, By returning to paint a place that you know well you are fine-tuning your ‘sensvty to colour; I's the equivalent to practising scales in music, The mare you do te wider your vocabulary becomes. Al of this helps develop your sensitivities asa painter So, I suggest that you settle ona subject that's 14 EXPLORE Wetercolonr September 2014 easy to reac, but does involve some element of ‘ave: this gves you separation from your studio ‘or workspace, With a subject chosen on this, basis, you'll know where you are gong and what youl fn at te otter end, and can pack ‘corti Travel light ‘My basic equipment comprises a watercolour tx and sable rashes Ns. 6 10 an 12 together wth atin, sate fi. might ade w syneticbrustifa tube of mache init way into my bag Dnt crit of unecessary tuhes of paint arcana wth ou this is the one paling joa have tine for thst as simpy sancez out your tbe cous int our peered x. at uth pene and arabe for asters. s Im making an oan drawing rer than tonal ts The heaviest item s water which goes int a forte plastic ik eartn. Finally a drawing toa, Arches block and ese are packet My cael a od tripod wit camera ting stuck eno apiece of Gatorboar, Leg wth wood nthe Arehes bck st. 30 no clips are need The wate der has a lt ot rai so there's no swinging ant. Working practice Having sumeniered tothe scene, ny general ‘working method isto identi the vanishing pin (or points) on thee ine ad obvious verticals, sch asthe les of bling an masts, an therein, asi i Rrthis use see-thoagh pastel Square, which is invaluable for thisintal stag. then daw the ements witha pen fm working in ‘aterolou or mas these element in wth haroal on ano panel 7m working no. Tis ‘il ix important compostinal elements, whieh sive structare to your pti 7 paint clos eto ake a got nk at ‘what's happening then simplify it. This may mean reducing the varity of cud seen, or reducing the amount of cloud acy. Tiss alto do with contol the composton. Yu do nt want to vere sour pctre visually: remember, less {was extremly rtunate to spe sie years pang alongside avery experienced commercial rst whose taourte painter was Si iam Rassel Fit. Myrent was technical supe. This was any in my painting caer an atthe nervy point of delivering the big soupy wash that all watercolors now is Inoment of teat my generous end would tur tome wi twine tn is eye ad sa oes, be my fend” Bocourage wok then divin othe painting with a determine nto, How fen find mys repeating the manta atthe crucial st momen wwnpsinteronine ok Simplifying the scene DEMONSTRATION Faversham Creek 7 4 Asa composition this scene is not particularly complicated, There is

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