Friday, 1 December 2017

Reasons why it's good to ask questions... Knowing our onions and dealing with washes.

Last night my students were painting in water colour. Onions, in fact.  I'd asked them to include a background wash of colour (because white paper is harsh and doesn't always favourably support the subject), which often causes a little anxiety in the room.

When painting with water colour the important thing to acknowledge is that we are painting with WATER, with a little pigment added. It is safe to assume that it will take more than one layer to achieve a fairly 'neat' wash of flat-ish colour, and there are a few tactics which need to be emplyed in order to get the better of the materials!

The first is to make LOTS of the colour you need - I suggest that students create a lake on the palette. Some folks resist this, not naming any names (you know who you are!!), and at best manage to create a puddle - but inevitably they run out half way through... The down side of this is that it's almost impossible to recreate the same colour, and while you're frantically attempting to make a new puddle, the paint already half-way across the background is drying.. Nooooooo!

The following pictures show the difference between a pudde and a lake...
First, add some water to a clean area on your palette. Then introduce some pigment and stir very well.

 

This amount is a 'puddle' and won't go very far across your page.  Now is the time to bring a lot more water to the puddle. Use a large brush to almost ladle the water onto the palette. See in the photos below how it disburses the pigment which you'd previously stirred. This is an excellent reminder that we aren't painting with 'paint', but with stained water. As you add pigment, keep stirring to ensure that the colour is evenly spread in the water. By 'water',  I now mean LAKE. Add pigment until you get the colour to the depth of tone you want, and test it not by eye, but by taking a SMALL brush and painting a little tile on your page. It will almost certainly be paler than you expected, in which case add more pigment to the lake, stir again, test again.

 

The lake, which resembles a miniature swimming pool!
When you are satisfied that you have the tone you want, have two brushes handy - a small one for painting close to the objects, and a larger one for very quickly swiping the colour away.

The second tactic is about the order of work.. MANY students automatically start at the top of the page then work downwards. This is a very difficult approach! Instead, I advise that you begin right at the subject itself. Load the small brush with the lake-mix to carefully go around the edge of a section of the subject (an area of no more than 7 or 8 cms!) then swap to the larger brush, fill it with lake-mix and work VERY SWIFTLY to push the colour outwards away from the subject. The aim is to keep all the paint wet until you have coverd the background. If it is drying before you are finished it means you are working too slowly... Carefully around the subject then quick-quick-quick to take the colour outwards.

All was going swimmingly (sorry..!) although the first washes were all fairly 'streaky' - this is normal and can be over ridden in a second layer. But then Suzanne asked a totally brilliant question, which transformed the experience for everyone.  The question was:

'Why has my wash dried like this?'

I know, fantastic question isn't it?!! I'm sorry that I didn't get a photo of it to illustrate the point, but I will describe it. Her wash, which was actually beautifully done, had dried with some areas darker, some lighter, some lighter again, and several dark rivers where the light and darks 'met'. Not the effect Suzanne was aiming for. I looked at it for a mement then said that she had obviously dipped her brush in her water jar before reloading with the lake. 'Yes, I did!' she admitted. The reason this is so marvellous is that several students had also done this, effectively altering the lake with every application. Disaster!

But a disaster with a very simple solution. Before you begin painting with your lake-mix,  cover your water jar with a tissue and DON'T DIP YOUR BRUSH IN IT UNTIL THE WASH LAYER IS COMPLETE!

Hoorah! Suzanne's second wash was a triumph of paint-magic, and confidence was restored.

This illustrates how sometimes we do something out of habit which has consequences on our page, but also that many apparent prob;ems things have a very simple solution.

Below are some gorgeous examples by students, onions and washes. Do not be fooled by the lovely results - most students suffer to produce their artwork - it doesn't come out of the brush all by itself :)

Brigid

David

Alan

Ewa, aged 15


Upcoming workshops - portrait in oils, 17th December, Belfast.

My drawing and painting instruction book, Notes from The Atelier, has now got over 40 five-star reviews on Amazon! Available on Amazon, or directly from me (which is a bit cheaper!). A lovely christmas present for the arty person in your life.



www.juliedouglas.co.uk
email:  julie@juliedouglas.co.uk 



Monday, 27 November 2017

Drawing on location, at the Titanic Pump House, Belfast

You'd be forgiven for thinking that somewhere as industrial as the Titanic Pump House would be the last place you'd want to draw. Apart from the fact that it's oily, dusty and uncomfortable, it is also more than a bit chilly. But if you wear enough layers of clothes, and keep moving about a bit, the temperature is the least of your worries..! 

The start of my demonstrations
Industrial landscape

The space itself is full of pattern and shapes: the tops of the arched alcoves and windows are mirrored by the rope loops, the railings divide the visual area into sections and the limited colours are just delicious. And that's just what my students thought when they arrived, suitably dressed for the temperatures (it was colder inside than out!) - we were also glad that the cafe was right next door, and totally warm and welcoming! 

Standing to draw


Jim using his initiative to turn a wooden block into an easel!

Neill working in chalk pastel

Clive hard at work.

Using the machinery for 'comfort'!


Jim's lovely work in progress
Below, my drawings by the time we finished for the morning. 
White and grey compressed charcoal, immediate to use with strong results. 






My drawing and painting instruction book, Notes from The Atelier, has now got over 40 five-star reviews on Amazon! Available on Amazon, or directly from me (which is a bit cheaper!). A lovely christmas present for the arty person in your life.



www.juliedouglas.co.uk
email:  julie@juliedouglas.co.uk 




Friday, 10 November 2017

water colour daisies, demonstration in class

Last week in class I asked students to do small drawings of daisies, then spend most of the session playing with the background. 

This timy painting started as a line drawing, then background added, with the flowers having a light wash of colours at the end. 

'Playing', when we are adults, can be very tricky!! We are accostomed to expect exact rules, or at least definite consequences, so that playing can seem...a waste of time (horror! The reason we 'work' is to fascilitate our 'play'). But playing within a small set of boundaries feels less open-ended, so in this session, the boundaries were to create a dark background, with dots of wet-on-wet in a paler colour, just to 'see what happens'. What could possibly go wrong?!

The full set, showing how small the paintings are.

I did a few examples in a small Moleskine sketch book, leaving them at various stages of completion - it is important to have a reference of early stages of work, otherwise we can forget how we started (a down-side of watching someone else work ).

This shows the detailed line drawing, and I painted the background first.
 So rather than producing one painting, I did several. Mostly I drew the flowers, and painted the background first. Working in this way means that you haven't spent ages on the details, which can make you less willing to risk getting messy! Risk is GOOD!
In this example, some of the petals have a wash of colour before I began the background
 Another good reason for doing the background first is that it gets rid of the white paper. White is not our friend!! It is loud and attention-seeking, and the soner we paint over it, the sooner we can make correct value decisions in the rest of the painting.
Petals first, background second

No drawing at all - straight to paint, working outwards from the centre of the flower
Workingstraight to paint is liberating and worth trying - the key is to 'blob' colour onto the page, then push is around, as opposed to doing a line-drawing with the brush.

Working across two pages keeps it light hearted and not prescious
It was good fun - playing is to be advised when learning to paint, but playing with boundaries is the best of all.


My drawing and painting instruction book, Notes from The Atelier, has now got over 40 five-star reviews on Amazon! Available on Amazon, or directly from me (a bit cheaper!). A lovely christmas present for the arty person in your life.



www.juliedouglas.co.uk
email:  julie@juliedouglas.co.uk 

Saturday, 4 November 2017

A lovely bit of homework! Student water colours.

I don't actually set work for my students to complete at home, but sometimes - particularly if they have missed a session - someone will put in a bit of time at their own drawing board. It is very rewarding for me to see the results.
Brigid's painting - amazing!!
The painting above, by Brigid, was started during a class,  and she took the leaf home and finished it. I think it's totally beautiful.

Lovely colours and composition by Liz 
Notice how the colour-restrictions were noted on the side of the page - it's always worth doing exercises with a restricted number of colours. Not only does it give the painting a lovely unified feeling, it also helps you understand the range of colours at your disposal.
Another lovely design by Pauline

A lovely spread of studies by Dawn. They look real! 
Notice lots of colour 'tiles' on the left page of Dawn's lovely book (above), testing the mixes before putting them onto the drawing. The dark red leaf on the left page is the actual leaf, but all the others are Dawn's paintings.

 The painting above and below is by Sara, who worked in this at home. The photo above shows that Sara did a wonderful job of getting the leaves just about same-size as the original (the real leaf is on the paper at the top). This photo shows the first layer, a 'wash' of lemon yellow.

Sara's lovely artwork

 Above - the finished artwork, totally delicious. Below, the leaf itself didn't last so long!!!




My book, Notes from The Atelier, has now got over 40 five-star reviews on Amazon! Available on Amazon, or directly from me (a bit cheaper!).



www.juliedouglas.co.uk
email:  julie@juliedouglas.co.uk 

Friday, 27 October 2017

Toadstools and mushrooms, pen and coloured pencil on tinted paper, students work.


So, I'd been watching a very impressive clump of toadstools as it grew in the garden, waiting for it to reach a suitable size to dig up for my students to draw. This week, it made the grade....


 ...and I got out the spade. It was a pretty slimey, slithery-topped variety but the individual stems came away happily enough, giving folks a selection to choose from.

A toadstool platter...
 Add a box of delicious coloured pencils, and oh joy of joys!!

Caran d'Ache, my brand of choice
Ailbhe's lovely study
Everyone worked on tinted card - 'white' is not a supportive surface to draw on. It is harsh on the eyes and offers a too-stong contrast, in many instances. The darker tone of the grey card gives a different, warmer effect and while it means that colours don't behave the way they would on white paper, we can quickly work out the differences and enjoy the experience.


Clive's work, next to the toadstools. 

We began by drawing in pen - again, this is not as scary as it sounds ('what, no rubber???)! The pen doesn't feel too dark going onto the tinted tone, and once a line is there, it simply....stays there! 
It's actually liberating, not restricting. 

A closer look at Clive's drawings

Alison's drawing showing lovely colour blending.
As the week went on, the toadstools began to wilt, so I introduced some large field mushrooms, which offer a different range of colours. We might, at first glance, assume that there is no colour in a mushroom... (tsk!!), but a closer look reveals soft yellows, pinks and even blues.  And, as Paul noted, there's a lot of mushroom-colour as well!! 
The Thursday morning class! Yummy!
You can see from the photos how effective the pen is, in conjunction with the coloured pencil. The pen gives a strength of dark and helps the drawing to look confident.

Bernadette's lovely artwork - first time using coloured pencil!

Suzanne's lovely drawing
Adding a bit of soft white to the background area can help add drama to the finish.

Glynis's triumph!

David's artwork is a joy of compositional delight, making full use of the paper colour

Ken's lovely artwork - first time using coloured pencil and a great start.
There were even more lovely drawings, but not all my photos come out so well, so I have selected only a few. A great subject, an interesting way of using the mediums, and lovely results. 

Ewa's stunning drawing. 


Next up: Children's class, portrait workshop and oils weekend. For info email julie@juliedouglas.co.uk


My book, Notes from The Atelier, has now got 40 five-star reviews on Amazon! Available on Amazon, or directly from me (a bit cheaper!).