The Watercolour Log: November 2018

Sunday, 18 November 2018

INDEX

I have just updated the INDEX. This is in JULY 2014. I know accessing this is a bit of a fag BUT there is a lot of good stuff there, including by other contributors. Sorry I originally said June.

To access the Index.

1. Scroll down list on right hand side.

2. Click on 2014.

3. Click on July.

4. Click on Index.

Saturday, 10 November 2018

Latest Paintings

Here are some of my latest efforts. I make the usual proviso I don't post them as good just what I am producing at the moment. My painting has always been on the inconsistent side, partly because I never want to get into a rut and just turn out the same stuff painting after painting.

Hare 16" x 12"

This was an exercise at my art group using a limited pallette. In this instance my choice was three primaries but not the usual ones. The colours were: Hansa Yellow Medium (Daniel Smith PY97), Permanent Magenta (Maimeri PV19 Rose shade), Turquoise )Lukas PB16). I wouldn't normally do this but it does force you into areas you don't usually go.

I started this one as I had a short time to spare after finishing the days subject at my art group. This is based on Charles Reid's teachings in his books/videos and workshops. The features are done first. HOWEVER on re-watching his last dvd - Figures in watercolour - I noticed he'd changed his approach ,or at least I thought he had, by doing a wash overall first. I also was looking for inspiration and to correct bad habits that seem to develop in my painting. I think the root cause is not painting enough. I read somewhere that to maintain your standard you needed to paint at least three times a week, even more if you wish to improve. Given my advanced age it's also a case of not wanting the rot to set in!

'Dead Horse' Flathead. c 1905 16" x 12"

This is the finished painting. I quite like it even though I'm sure I do things wrongly. I tried not to overwork this one - a perennial problem.

'King of the Jungle - 16" x 12"

I feel, while a reasonable representation I have overworked this one. Lots of colour Translucent Orange (Schmincke PO71). Translucent Brown (Schmincke PBr41), Quinacridone Gold (Daniel Smith PO49) plus Cerulean Blue, Burnt Umber , Raw Sienna etc. I also did highlights with some acrylic white, using a little Pebeo Gum to mask the whiskers. I almost always paint from photos these days and that does incline you towards bad habits. I have learned though not to copy every detail.

'Model' 16" x 12"

This was done on the same session as the above. The left eye facing is not quite right and I may alter it but it was mainly an exercise in getting the skin tones right which has worked reasonably well. I also like the jewellery on the facing left hand side.

Khadi rough A4

A very quick exercise of a treecreeper done on about 20 minutes.

'Big Cat' 16" x 12"

'Ptarmigan in Winter" 16" x 12"

An exercise in simplicity, although not deliberately so.

'Treecreeper' Khadi rough A4

This was done previously to to the treecreeper one above.

'Jay' 16" x 12"

'Autumn' 16" x 12'

I'm not sure what this bird is.

The papers I am using sat the moment are Waterford High White, Stonehenge Aqua and Khadi rough.

Friday, 2 November 2018

Watercolour Paintings 48

Here are Novembers batch. They are a mixture of different styles and old and newer artists. Hope you like them.

Gerard Hendriks

An excellent example of Gerards Bird Paintings

Edo Hannema

Dianne Benoit

I'm lucky if my Amerindian paintings get half a dozen likes but Dianne got a lot for this one. I'm taking note of how she has approached the subject!

Dusan Djukaric

Jerry de la Rosa

A new artist to me

Winslow Homer
The revered American artist

Trevor Lingard

Stan Miller

Morten e Solberg Snr

Francisco Castro (?)

An amazing watercolour

Yuko Nagayama (?)

Gerda Mertens

The notable Belgian artist

Charles Reid

I was on the workshop when Charles painted this demo. It was at Burford, near Witney in Oxfordshire.The young man was a member of the hotels staff and and he posed in the garden. It was actually my first with CR and the standard was very high. He commented on this himself and I really struggled. Although always of a high standard none of the following workshops reached the same level and I gradually adapted. There were artists from all over the World and several were professionals.