Product Review - Cornwall Watercolour Paper

I recently tried out Cornwall watercolour paper from the well-known German manufacturer Hahnehmuhle. They have quite a range and Gerard Hendriks uses their Andalucia 500gsm paper - so does Viktoria Prischedko.. The interesting thing about Cornwall is that is  a slightly heavier paper at 210lb rather than the more common 140lb.Yvonne Harry the leader of my AVA group and a very fine artist, quite the equal of many professionals, had purchased some and used it at our AVA sessions. I was quite impressed with the results so decided I would give it a try. It isn't a cotton-based paper, presumably cellulose or similar and being slightly heavier than the norm doesn't buckle quite so easily. Because the weight is heavier the cost is roughly equivalent to a 140lb cotton paper so you don't save in that respect. 

Cornwall comes in both rough and matt surfaces, the rough being quite pronounced with a distinct pattern. Both come in blocks of ten in various sizes and you can also buy sheets. I bought blocks of both surfaces in the 30 x 40cm size, my favoured size. Current Jacksons price for the 10 sheet 30 x 40cm block is £12.20p.

I recently tried the rough surface at an AVA session. The subject was landscapes, which I don't do very often these days so I was very rusty. getting my excuses in first. The surface of the paper is quite rough with  pronounced vertical lines. Brushing across them produces a broken effect. I initially tried a portrait subject and it was a disaster. It just didn't suit the subject at all. Whether the matt surface would be okay I've yet to find out.

Winter Scene - Cornwall 30 x 40cm rough 210lb/450gsm

A few years back I tried another Hahnemuhle paper Britannnia available in rough and matt surfaces. For a while I quite liked it. It has a hard surface so the paint doesn't sink into the paper and remains bright. Being 140lb it is cheaper than Cornwall and the 12 sheet 30 x 40cm is only £9.40p. A good budget option. My favourite papers these days are Fabriano Artistico Extra White and Waterford High White. I'm inclining more to the Waterford and  prefer the 16" x 12" size rather than the 18" x 12" of Fabriano. The Waterford High White took a little time to get used to as it is different from the normal off white,but is a lovely paper used by many top artists. Unfortunately being cotton it is more expensive but there are occasional special offers. I should mention I also use the Great Art Centenaire paper, another of 100% cotton and it is good but not quite as good as the Waterford (my feeling), although a little cheaper. 

More Incredible Deals from Great Art

Just received the Great Art magazine - actually a large pull out leaflet - with some incredible paper deals for watercolour artists. The Winsor and Newton artist quality paint offers, previously highlighted, are included and  prices for Fabriano, Waterford and Arches are the best I have seen for a long time. There are great deals for other media artists.

To give some examples the Fabriano Artistico 18" x 12" 20 sheet block (all surfaces including Extra White) is only £14.75p which is half price! Waterford 16" x 12" 20 sheet blocks are £17.95p and Arches of the same size £27.50p. These are just examples. www.greatart.co.uk/

Latest Plein Air

Actually it isn't but the one I did today is far too light, the Church at Newton St Loe,  and I've already put it on the ever growing reject pile. I would probably have been pleased with it a year or three ago but no longer.

Pat's back garden 16" x 12" waterford Not

This was painted last Saturday on our second 2010 visit to Pat's house at a village on the outskirts of Bristol.  Weather was fine, a little cloudy but warm and I painted a scene looking through a gap between bushes. The main feature is the urn but following Charles Reid's dictum of not having a particular centre of interest decided to modify it and added several flowers. Actually they were  growing in a border behind and to the side of where I sat so it's my own composition. I think it works quite well. Colours used included , Permanent Rose (W & N),Carmine (W & N), Quinacridone Gold (Maimeri), Ultramarine Violet (Rowney), Hookers Green (Maimeri), combinations of various blues and yellows, Raw Sienna, Burnt Sienna and Burnt Umber. Oh yes and Raw Umber.

Painting at Beer

Beer is a beautiful small unspoilt fishing village situated on the South Devon Coast between Lyme Regis and Sidmouth. This last weekend we  booked a B and B right in the centre. I had never been  before, nor knew anything about the place, but one of my painting friends has had a permanent caravan  there for years and another recently visited for a short break. Listening to them talk enthusiastically about the area decided us to go at fairly short notice.

Beer is situated on the cliffs above a lovely cove and the beach, although of pebbles rather than sand, makes for a delightful view.  I noticed the place we stayed in had a number of framed prints from a local artist called Ben Bradshaw, rather too chocolate box for my taste,  but obviously popular and very prolific  judging by the amount of his work, in various forms, around the village. His originals sell for £300 - £500 apparently.

There are two good gallerys in the main Fore street,  one called Steamers and the other the Marine Gallery. They appear to be owned by the same person or persons and I was particularly taken by some of the paintings in the Steamer Gallery. Some very good artists featured here.

On to painting. I took all my outdoor gear with me and, although conditions were slightly windy, decided to attempt a painting. My wife hired a deckchair and got on with her latest book from her reading group.

DAY 1.

The beach has numerous attractive boats and other miscellaneous gear lying about so there are plenty of possible subjects. The main problem was the wind and also the pebbly beach which is loose underfoot, so it brings problems in setting up to paint. I chose a spot in a corner just off the beach with a cement base and settled on a particular large boat, surrounded by numerous others of varying sizes. After drawing the main boat, which was interconnected with numerous others, I kept drawing adding more and more until I had a really busy drawing. This was a major mistake. Not long after I began to paint I realised I had a probable disaster on my hands, notwithstanding the various onlookers who made approving noises. There are a few who say nothing so make of that what you will. One thing I have learned is not to pursue failure so I soon gave up and the partially completed painting finished up in the nearest rubbish bin. Lesson from this. Take more care and simplify. Also take a little more time about deciding what to paint. I do that more and more these days but still suffer relapses, as on this occasion.

DAY 2

The unsatisfactory end of my painting session made me determined to have another go the following day, helped by a slight moderation of the wind factor. Otherwise the weather was excellent. The previous day I had taken lots of photos so had a clearer idea of what to concentrate on. On this occasion I braved the pebbly beach and parked myself well forward as you will see from the painting. Down went the groundsheet and this helped but easel, chair and  me were still slightly rocky. The wind remained a factor although not a major one, despite this the whole lot went flying on one occasion, water pot and all but fortunately no real damage.

This is the result completed in about 2 hours. This time I followed Charles Reid's advice when painting outdoors in that, rather than completing the drawing in one session, I drew some then painted and repeated this two or three times. This is to combat the way light changes over the course of a painting session.

Boats on the beach at Beer Waterford 16" x 12" Not 

I'm not delighted with the above. I feel I can do much better and have some excellent photographs to work with. Hopefully a much better painting will emerge which I can display on here. What else about Beer? We shall definately return. Excellent fish and chips from the Beer Fish and Chip shop/restaurant and another very good meal in a quality restaurant called Steamers. We also indulged in clotted cream teas (twice!). 

Latest Amerindian

This is my latest effort.

Apache Warrior Circa 1800s Waterford 16" x 12" Not

I continue to struggle to produce a photograph fully representative of the painting, despite trying several settings. The original has slightly more contrast than the photo and the colours are darker.

Compared to the photo the likeness is only fair and I haven't quite been able to get the hostile expression of the original. I painted the face and features, using pan colours, with mixes of Cad Red, Cad Yellow Light, and various blues, Cerulean, Cobalt and Ultramarine. I also used a touch of Ultramarine Violet and Hookers Green around the eye sockets. Other colours (mainly tubes) used in the remainder include Burnt Umber, Raw Umber, Viridian, Quinacridone Gold (PO49 - the orignal W and N formulation not the current three pigment mix) and Raw Sienna. Also touches of Avignon Orange (Maimeri). 

I am reasonably pleased with the above painting. It could be better, as can all my paintings, but I feel I am progressing and I have kept a number of my failures to prove it! It is tough producing paintings from these old black and white/sepia photographs.