Eurasian Nuthatch

The Eurasian Nuthatch, looking very similar to the European one, is the latest subject on the Facebook `Painting Colorful Birds for Fun'. I have had two shots at it for which see below.

Waterford 11" x 15" High White 140lb (300gsm) Not

111/2"x 16 L Amatruda Amalfi Hand-Made 90lb (?)

The first painting is based on the guide photograph on the `Colorful Birds' page. The second I downloaded from Google images. In the first one I had problems with the blue - Rowney Cerulean - which the paper didn't seem to take terribly well. When Waterford `High White' came out I purchased some from Bromley and tried it along with Yvonne and Jan from the AVA group. Yvonne didn't like it at all and neither did Jan. My own impression was far from enthusiastic as it didn't seem to take the paint as well as expected. Subsequently I used it on a couple of portraits seemingly without problems. This version of Waterford was eagerly expected because the original is rather off white - a yellowish shade - and has been described as creating a slightly `antique' look. Since then a number of professional artists like Ann Blockley have come out in praise of it. I've been using up odd bits of paper for the bird paintings and came across a remaining sheet of `High White'. The main colours in the first painting were Cerulean and Translucent Orange (Schminke PO71). It may be the Rowney Cerulean is at fault, although I'd no complaints when painting with it prior to this one. This is a paint/pigment ( PB35) that varies considerably amongst manufacturers. I'd previously used  the Winsor & Newton version.   

The second painting was produced because I wasn't happy with the first. Apart from the streaky Cerulean it seemed to me to be on the bland side. You have only to look at Gerard Hendriks exciting paintings to understand the meaning of this. The black is Ivory Black from Maimeri with some Turquoise (Lukas PB16) added. This colour and Cerulean feature on the head and back with Quinacridone Gold (PO49), Quinacridone Rust (PO48), Ultramarine Violet (PV15) and some Raw Sienna on the breast and feathers. The tree he is perched on includes darks made from Ultramarine, Burnt Sienna and Burnt Umber with some Ivory Black. There is some Raw Umber and Quinacridone Gold, Ultramarine Violet and the pinkish red is Quinacridone Coral (DS PR209). I tried to give the impression that the bird and tree trunk were interconnected using the darks. My initial approach was to paint the eye, beak and black areas very carefully as they are the focal point of the whole thing. Before painting I used Pebeo drawing gum, applied with a ruling pen, to carefully mask the very thin lines around the eyes. 

In both instances I first made a careful but not over detailed pencil drawing using an 05 Pentel mechanical pencil with a 2B lead. The paper in the lower painting is some I bought from a small shop in Amalfi, Italy when on holiday a while ago. I discovered a small shop selling paper and these were the largest sheets. I asked the lady - who turned out to be the owner - where the paper was made and she waved her hand and said `at my factory over there'. I'd love to get some more as, although very light, it is a beautiful paper to work on. It wouldn't do for large washes. 

Matters of Interest?

Did you know that the (once) great British company Winsor & Newton, previously owned by a Swedish educational company called Colart, are now owned by a German paint company called AB Wilhelm Becker? I didn't until I read the excellent blog  http://channeling-winslow-homer.com/   . I wonder  what Mr Winsor and Mr Newton would make of all this - probably turning in their graves. If you think this nationalistic - and I'm opposed to extreme nationalism - look at who owns Holbein, Sennelier, Schminke, Lukas, Maimeri,  Graham and Daniel Smith. Not one has been sold  to a foreign company.

 As an aside there continue to be rumours circulating that W & N watercolours are not as good as they once were. Is this true? Any views?

 I don't know who owns Daler Rowney, the other famous British paint maker, but it certainly isn't the descendants of Mr Daler and Mr Rowney. I believe it is also owned beyond the shores of the UK. 

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Turning to watercolour paper I see that Saunders Waterford have now introduced their `High White' paper in blocks. Initially I wasn't overly impressed when I tried some sheets shortly after it was introduced. Yvonne Harry didn't like it either but as I made more paintings I became more positive. The well-known artist Ann Blockley is very happy with this paper. The blocks are now available from both  Ken Bromley and Jacksons. I've just ordered a 16" x 12" Not block, my favoured size, from Jacksons at £24.30p. I do like Fabriano Artistico Extra White, but  they do have this odd size of 18" x 12" and I've taken to reducing it to 16" x 12", which is a waste of paper, especially at close to £30 for a block of  20. Incidentally for those who liked the famous Whatman hand made (and very expensive) paper, which has been discontinued, it is being said that the replacement  is Milford. Why replace it and what is the difference between the two?

Actually I live quite near the Waterford Mill and have been mulling over contacting them and asking if I could visit for a blog feature.

Continuing with paper Great Art are offering their Centenaire 100% cotton watercolour paper at the very keen price of £16.10p for a 16" x 12" 20 sheet block. Other sizes relatively priced. This is current as of today. Centenaire is sold in both rough and not surfaces, several different sizes plus sheets. The `normal' price is £18.95p which is still good compared to other cotton papers. This was launched last year at very keen prices but in 2012 it became more expensive. However the competition has moved up in price - and the special offer seems ongoing, at least up to date - so  for anyone looking for something that is keenly priced but not made of cellulose then worth looking at.

How good is Centenaire? I have used it  for a while and find it satisfactory but  think both Waterford and Fabriano still have the edge. The gap isn't obvious though, at least as far as I can tell. Some other artists at Avon Valley Artists are using it and I've just ordered some for several.

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Finally I have been entranced by Gerard Hendriks `little' watercolours on his blog http://gerardhendriks.blogspot.co.uk/  , which he describes as a `ten minute' painting a day. I decided to try something similar, although I`m frequently driven off course by amongst other things grandparenting duties and emergencies, like tomorrow with Evie having `suspected' - it may well not be - hooping cough. Anyway the other day I took three remaining Rudbekia blooms and attempted a very loose and simple painting. It was quite large at 15" x 11" on 90lb Fabriano and took about 40 minutes.

I first made a loose drawing, very simple, and then painted using a No 8 Isabey 6228 Kolinsky sable. The idea was to use compliments so I put several blues in the background, Cyan Blue (PB15:3), Prussian (PB27), Ultramarine and Cerulean. there is also some Sap Green and a little Hookers. The flowers are a mixture of Indian Yellow (Rowney PY153), Cadmium Orange (Maimeri PO20) and Hansa Yellow Medium (DS PY97). There may also be minor touches of Raw Sienna and Raw Umber. The flower centres are Burnt Umber and Ivory Black. 

Once again comments seem to be drying up. I don't look for praise just feedback really otherwise it is difficult to know what is interesting to readers. That's it folks!

William H Macy

This is William H Macy the well-known actor pictured in his new role as `Frank' in the American TV version of the British soap Shameless. No I don't watch it. This photograph was on the cover of the Weekend Guardian colour magazine. I immediately thought he would make a great subject for a watercolour portrait.

Initial drawing.

This was my second attempt. I rejected the first painting because the resemblance to Macy was not good enough and I also realised I was beginning to tighten up, something I'm always fighting against. For the outline drawing I used a Shorty  Propelling pencil. This is a tool I first read about in Robert Wades last book  and on perusing the Great Art catalogue I saw and ordered one. It is unusual in that the pencil is short and stubby 10.5cm long 1.5cm wide, hence the name, with a quite large 7B 0.3mm lead. It is soft being a 7B so I was careful not to press too hard. It's in the latest Great Art catalogue if anyone is interested. I've not seen it anywhere else in the UK mail order specialists. Robert Wade said he bought his in an art shop in Venice and that he believed it was called a `Stumpy' in the USA. Code number is 28391/2 black or white. It costs £6.95 and comes with three leads. I presume you can get replacement leads although they aren't listed in the latest `small' GA catalogue, possibly on the website. www.greatart.co.uk Note Added 13/06/11.Yes they are available.

The `Shorty' compared

William H Macy `Frank' - Waterford High White 140lb (300gsm) 11" x 15"Not

I've just compared this with the actual painting and the painting is better, not quite so truncated (my ad hoc photography!). I also think the values are better in the actual painting.Note Added 11/6: I have rephotographed the painting, using a tripod and different settings and removed the original. Still far from perfect. Overall I'm pleased with the result. I first did a loose drawing making sure the proportions were correct by using the variscaler and just putting dots in which I then used as guides for the drawing. I used the Shorty for all the intial drawing but switched to a normal B pencil for the  eyes etc.

Paints used were a mix of Cadmium Red Light or Pale, Cadmium Yellow Light and Cerulean for the features but in order to get the darker shades, especially around the eyes, I mixed Ultramarine Blue with Burnt Sienna. The eyebrows and moustache are a mixture of mainly Gold Ochre with some Raw Sienna, Burnt Sienna and a little of the dark mix. Touches of Ivory black for the dark areas above the eye and corners and also the pupils. The hair is mainly Ultramarine Blue, Burnt Sienna and Gold Ochre partially mixed on the paper. Touches of Hookers Green in the corners of the eyes. The shirt was a mixture of Cerulean and Cobalt Blue, with the jacket mainly Raw Umber. I think that's it.

Brushes used were the Isabey No 6 retractable for the eyes, nose and mouth and Rosemary No.6 and 9 series 33 Kolinsky for the rest of the face. I used the Da Vinci 44 Kolinsky Mop No 2 and Rosemary No 9 for the hair.

This was also another trial of the Waterford High White paper and I'm beginning to change my opinion and becoming more positive about it.