Shadows

This was the subject at today's Avon Valley Artists session. Attendance was only ten, one of whom was a new member. This is due to half-term week with several either on holiday or looking after grandchildren! The subject was `shadows', which made for a a fairly broad interpretation. In my case I decided to do a portrait using one of my black and white Indian photographs. 

As you may be able to see the reference photograph showed  considerable contrast with the left facing side of the face virtually disappearing. I concentrated on the shadow side and did not attempt to fill in the `blank' area of the face.

16" x 12" Fabriano Hot Press 140lb (300gsm)

You may note `Hot Press' paper. I've never used this before but have noticed some good watercolour artists paint portraits on this surface. After I arrived home I studied the painting again and decided it was too pale in the shadow areas. I wet the paper then added a wash of Ultramarine and Burnt Sienna. My approach is to try and follow Charles Reid's advice to be slightly `crude'. I'm not entirely happy with the result - when am I ever - but will certainly give hot press another try. I used Schminke Translucent Brown, Cerulean, Cobalt Blue, Yellow Ochre and Cadmium Red Light in various mixes, mostly mixed on the paper. Raw Sienna was introduced for the sash.  Brushes were the Isabey retractable size 6 and the Escoda retractables 8 and 10.

Jan Weeks 16 " x 12"

Yvonne Harry 

Pat Walker

Another enjoyable session and next week the subject is `Chimneys and Roof Tops'.

Latest Paintings

Apart from my Thursday Avon Valley Artists sessions the last few weeks have not been terribly productive insofar as producing paintings are concerned. This has been mainly due to grand parenting duties with our three young grandchildren.   I must admit that when it comes to painting, or the grandchildren, painting loses out every time! I did go last week to the AVA but forgot my camera so cannot show a selection of paintings produced, except mine which I photographed later at home. The subject was `Farms and Barns' and we had a poor turnout with only twelve people present. As a result the standard of paintings was a little below what we normally expect.

A converted barn 16" x 11" Centenaire 140lb (300gsm) Not

I first made a pencil drawing - using a mechanical Pentel 07 with a 2B lead - from a photograph I took of the actual building, which I am very familiar with. It is in the village of Ducklington in Oxfordshire where my sister lives. One previous painting I did of  this scene was the highest ranked watercolour in the popular vote at a Bathampton exhibition two years ago. My usual colours with Hookers Green (Graham PG7/PY110) prominent in the greens. Quinacridone Gold (DS PO49), Quinacridone Rust (Graham PO48), Raw Sienna  on the barn. Cobalt Blue Deep (Rowney PB72) and Cerulean (W & N PB36) in the sky. The darks are mainly Ultramarine and Burnt Sienna. I'm now using B to 2B leads instead of HB which I found a little hard. Lead sizes vary from 05 to 09, with 07 probably most used..

After Thursday I decided to do another Indian portrait and also another animal - actually bird - painting. The Amerindian was one I've painted before so it gave me the opportunity to compare the two and see if any improvement had taken place. It is based on the black and white photographs of Edward Curtis stemming from the period of the late 19th century. In this instance the face and features are just part of the whole and not the absolute central focus.  The previous study was larger and I think this latest is better in part but not significantly so.

Wanduta Lakota Sioux www.firstpeople.us/

Initial Drawing

Stage 2

Wanduta Lakota Sioux - 16" x 11" Fontenay 140lb (300gsm) Not

Colours used for the skin and features was various mixes of Cadmium Red Light, Raw Sienna, Cobalt Blue and Quinacridone Rust (Graham PO48). After reflection the following day  I decided to darken the right shadow side. This was done by wetting the area with clear water and then putting on a dark mix of Ultramarine Blue/Burnt Sienna. I also scratched out a few lights with a scalpel . The red on the headband is Cadmium Red Light. The darks are a mixture of Ultramarine Blue/Burnt Sienna and Indigo (Daniel Smith PB60/PBk11), Brushes were the Isabey 6228 Kolinsky sizes 4, 6 and 8 together with the 6201 retractables. I also used a Rosemary Series 33 Size 12 Kolinsky. I think I need to avoid overuse of the smaller brushes. 

The animal painting, actually owls, has now been produced in two versions so I'll post them separately.

The Eyes Have it!

This was the caption on the photograph below which was on the cover  of the Guardian weekend magazine 26 June. I was so taken by it that I decided to try and paint the subject, who was an Indian gentleman in an article entitled `The People and Portraits of Steve McCurry'.

I initially did a loose drawing, getting it as accurate as I was able and then painted the features beginning with the eyes, nose and mouth. The eyes are a little on the small side I can see that. I then painted his hand and then began the turban just to see how it would look. At that stage I finished for the day, partly to enable me to think about how to proceed with the rest of the painting. I am very conscious that paintings can go wrong at any stage and you always reach a certain point where it either succeeds thereafter or bombs. I was also feeling that I needed an extended break rather than just a few minutes. This was session one.

An Indian gentleman -16" x 12" Fontenay Rough

Looking at the original photograph I was first of all struck by the brilliant red of his turban, followed by the deep brown/sienna colour of his face and the cream of his shirt. I don't aim for a super realistic result, as this is watercolour after all but an almost impressionistic effect, although obviously it has to resemble the subject. I finished the painting the following day in one session, taking regular little breaks to review progress. The whole thing took about two hours.

I painted the features with my Isabey Series 6201 size 6 (Jacksons) and followed up with the Rosemary series 33 size 6.. These two brushes were used for the face. The rest of the painting was completed with my Da Vinci Artissimo 44 No Kolinsky mop, approximately the size of a 14 round.

Colours used for the features were a mixture of Perylene Maroon  (Rowney or Graham PR179), my first real use of this colour, and Faience Blue (Maimeri PB60) added for the darker areas. I also used Quinacridone Rust (Graham PO48) in the lighter areas. The odd touch of Cerulean ( W & N PB35) was added. Touches of Ivory Black (Maimeri PBk9) around the moustache. This was a new approach for me in terms of skin colours.  The turban comprised Cadmium Red Pale (Rowney PR108), Quinacridone Rose & Scarlet (Daniel Smith PV19, PR206 respectively) and  Avignon Orange (Maimeri PR206). Although the Daniel Smith and Maimeri above are both PR206 the colours are quite different. Touches of Faience Blue  were used in the shadow areas, both on the turban and more heavily on the right and left sides of the face. 

The shirt was painted with diluted mixes of Raw Sienna (Maimeri PBr7), some Gold Ochre (W & N PY42), and a little Cerulean. 

I am generally pleased with the final result although I realise, as always , it could be better. Comments welcome.