Chief Washington

After the mixed - very mixed - response to my Beaver Tail portrait I thought I'd try another this week. The subject is Chief Washington of the Coquilles, who took part in the Rogue River War in the Pacific Northwest. The guide photo shows him with a very bitter expression. I suspect it was taken against his will while in captivity. When I `googled' him all I got was a reference to a `Chief Seattle', who was obviously a different person, but referring to a book called  `Indian Wars of the Pacific Northwest' by Ray Glassley, there were two short references. Before starting our AVA leader Yvonne suggested I try to impart more colour into my Indian portraits rather than copy the rather dull sepia monotones of these original photographs which she thought were inclining to look `dirty'. Yvonne suggested I find some colour photographs of Amerindians so I get a better idea of the skin colours. My friend Hap always says mine are not dark enough. In view of the comments I've had I thought it worthwhile to show the guide photo - very, very dark. 

Chief Washington 16" x 12" Fabriano Artistico Extra White  300gsm not

I think you can  easily see the colours I've introduced, if you compare it with the previous portrait, which include brighter yellows and Quinacridone Burnt Orange (Daniel Smith PO48). I also used more Cadmium Red mixed with a little Raw Umber for the skin tones, Cerulean or Cobalt Blue to darken , and Translucent Brown (Schminke PBr41). The hair is various mixes of Ultramarine Blue with either Translucent Brown or Burnt Sienna. It is on the rough side but I persist in my creed of `being cruder' espoused by Charles Reid. This will make the perfectionists blanch  but I will keep trying if still some way from producing work I am completely happy with. My wife took one look at it and said she preferred the previous one! This was very much experimental and I shall have to ponder how to approach the next one.

Brushes used were the Isabey retractable Size 6 for the facial detail and the Escoda sizes 8 and 10 Kolinsky retractables for the rest.

Portrait Painting at City of Bath College

Yesterday 10th January my long awaited portrait course commenced. This was from 10.00am to 12.30am and I travelled to Bath on the local X39 bus complete with backpack and assorted art materials. On arriving at the College, not far from the centre of Bath and conveniently close to the bus stop, I went into the Macauley building as previously instructed only to discover the reception desk was missing replaced with four chairs and a coffee table! There was no indication of what to do so after a bit of head scratching I asked an official looking lady, who happened to be passing - the place is  heaving - what had happened. She quickly explained that, as part of major restructuring and improvements currently taking place, the reception was now located in the Roker building and took me there. The Roker building is new and very impressive as was the new reception area complete with coffee bar. On enquiring and quoting my course number I was given a studio number and instructions how to get there. The place is like a maze and finding your way about is far from simple. By this time my fellow AVA artist Pat had arrived and we set off to find the room.  After travelling down various corridors we entered only to discover it was empty apart from a young man who was stacking easels. We were (as instructed) early but time progressed and when 10 o' clock arrived still nothing. To cut this short the young man went off to check, returned saying we were in the wrong place and took us there because it was another trek to find the studio. The staff at the college are all very pleasant and helpful but I'd been told it was pretty chaotic and so it proved.

After this unpromising start things took a turn for the better. The class were already at work, all present having done previous courses, and the tutor introduced herself. She is a mature lady and artist called Jackie Harding and couldn't have been more helpful. Already the previous bad vibes had been banished! She explained to Pat and I how things were done and we were provided with cartridge paper and various other bits and pieces to get us started. After selecting an easel and stool off we went.

There were eight on the course, as I've explained, the model was already in place (apologies to her I've forgotten her name already), and Jackie gave us a sheet of paper with a number of key points to consider when drawing portraits. I'll probably publish these in a future post.

The scene when we arrived.

 Another view, Pat in the striped top

 Ist Pose

My easel to the right of and slightly below the model

 My Drawing. Graphite on Cartridge Paper.

During the first hour, until just after 11am, we completed our drawing. The model took no breaks  and never moved, obviously very professional. At 11am Jackie called a halt for a break and most took off to the coffee bar near the reception, us newcomers noting the return route to the studio!  After about twenty minutes we returned to find the model assuming another pose at a  different angle.

 The Second Pose

My effort on the right. This is full length, as was the other, approximately 23" x 16", cartridge paper, graphite and willow charcoal. For the drawing I used a Koh-i-noor mechanical pencil with a 5.6mm lead.

My second effort

The Completed Studies - Remember they are just that! Graphite and Willow Charcoal on Cartridge Paper each approximately 23" x 16"

We finished at around 12.20 and I must say I thoroughly enjoyed the experience. I was pleased with my first efforts especially as it was all very new to me. As for me being the oldest student on the Campus, or in this class, I'm glad to say this was not so! I'm looking forward to future sessions which will vary with both drawing  and/or painting sessions. 

 A word about the tutor. I had never heard of Jackie Harding but  found her website www.jackieharding.com/Site/home.html  I thought she was excellent. She was quiet and unobtrusive but managed the class effortlessly and is obviously an experienced teacher as her CV indicates. After an initial  briefing for the two newcomers (Pat and I) we went straight into the drawing and she quietly moved around, occasionally suggesting improvements or corrections to individuals work. In this particular class 6 of the 8 members had been with her previously, some several times. There is a structured plan for the course and I'll return to it in future weeks.

Latest Paintings

Since returning from the Charles Reid workshop I've been pouring on the gas! I'm not suggesting what follows is good  - just my modest efforts. I've been trying to put into practice certain things I picked up in Cornwall. None of it is really new as I've been on three previous workshops with him. My feeling this time is that I was better equipped to benefit from the lessons learned and - maybe, just maybe - I can move my painting up a notch or two over the next six months. We'll see.

Chief Joseph - Nez Perce 15" x 11" Fabriano Artistico Not 90lb (200gsm).

I'm none too happy with the resemblance to the real Joseph as it isn't quite right, so will be doing this one again and will post a fuller biography if I manage to achieve success.

 Autmn fruits 16" x 12" Centenaire 140lb (300gsm) Not.

This was the subject at a recent AVA Thursday morning workshop. I took along the apples with leaves and added the gourds that another member of the group had brought. As you can see I've gone for a colourful representation and used some of the Daniel Smith and Graham colours. 

Quinacridone Gold (PO49) from DS and Hookers Green (PG7/PY110) from Graham feature but there are others. I like these colours very much although how much longer Daniel Smith will be able to offer Quinacridone Gold remains to be seen with no manufacture of the pigment since 2001 ( according to Handprint). The Graham Hookers is the most natural version I have come across, very dark at full strength.  Many Hookers tend to look artificial. Daniel Smith watercolours, if somewhat expensive, are available from Jacksons www.jacksonsart.co.uk/ and  Ken Bromley www.artsupplies.co.uk/  One or two other retailers like Pegasus Art www.pegasusart.co.uk/ are also stocking at least part of this huge range.

 In their last but one catalogue Bromley made a big thing introducing both Daniel Smith and Schminke watercolours but the latest catalogue has no mention of either! Previously Bromley majored on Winsor & Newton with Rowney as a second string. Do I sense industry politics here or is there another explanation? I think I'll e-mail Bromley and ask them what is happening. Graham are only available in the UK from Lawrence of Hove www.lawrence.co.uk

Harvey 15" x 11" Fabriano Artistico 90lb (200gsm) Not.

Harvey is my eldest grandson aged 7. This is quite a good resemblance but I've overworked , especially around the eyes. I will  have another shot at him soon.

Mackenzie aged 5 - 11.75" x 15.75" Vivace Not. 140lb (300gsm)

Mac, Harveys brother, is my youngest grandchild and this has caught his likeness quite well. I'm not 100% satisfied ( I never am with good cause!) and will be doing further studies. The third grandchild Evie will be attempted very soon. About two weeks ago I took a series of photographs of all three with the object of turning them into portraits.  After Cornwall I feel more confident about attempting such studies. A friend who has painted many portraits tells me children are particularly difficult.

One departure with the latter paintings is the use of  an Isabey Kolinsky sable Size 8 series 6228, the one with the black handle with green tip. I've had it a while and in size by size  comparisons with Raphael and Da Vinci it was seen to be smaller - less hair in other words. Jacksons  offer this brush at £25.90 while the comparable Raphael and Da Vinci are £31.90p and £28.15p respectively. I have quoted the Series 35 Da Vinci but the excellent Series 10 is only £24.15p. I was already a big fan of the Isabey retractable Series 6201 Size 6, very slim but quite small compared to others in this size, and this 6228 is superb. It is long and slim, holds a good charge of paint and releases beautifully, very controlled. It is early days yet but my first impressions are very positive.

The April Challenge

This months competition between Mick Carney www.thepaintingstruggle.blogspot.com/ was my choice. Mick posted his painting yesterday.

Ostoho Apache Cowboy Early 1900's

www.firstpeople.us/

This is one of many striking photographs I have from (mainly) the first people site. They are the work of Edward Curtis a famous, and controversial photographer who recorded thousands of images of early ethnic aboriginal Americans. There is a possibility I got this one from another source I'm not quite certain so I thought I'd better say that. I know nothing more about this individual but it seems obvious he is from a later period when the Apache wars were becoming a distant memory.

Ostoho- Saunders Waterford A3 Rough

What were the problems with this one? To begin with, as always with these Indian subjects, the original is in black and white and very starkly contrasted. The features stand out but there are large dark areas, with no detail on both the left and right of the face and under the brim of the hat. What to do? I'm sure the lack of detail and very strong contrast is a feature of early photography so why follow this faultline and overemphasize the darks? The hat itself is obviously quite light which you can see quite clearly so by the same token the underside of the brim, although in shadow, must be similar.

My approach is based on the teachings of Charles Reid who I try to emulate. I first did a loose but reasonably accurate (hopefully) drawing then painted the features beginning, as always, with the eyes, nose and mouth. I don't aim for a superealistic result because I don't want to achieve that even if I were capable of doing so. Colours were my usual Cadmium Red Light, Yellow Ochre (for darker features) and various blues, Cerulean, Cobalt and even Ultramarine. I used Burnt Sienna instead of the Red to darken the features and remove any trace of pink (hi Hap). If you study photos of Apaches they do look to have quite dark features as do many other Amerindians. Brushes were my usual Isabey retractable No.6 for the eyes, nose and mouth, with Rosemary or Da Vinci Kolinsky No.6 and either da Vinci Artissimo 44 Size 2 or Rosemary Series 33 No 9 Kolinsky for the remainder. The hat was Raw Sienna and/or Yellow Ochre with mainly a mix of Ultramarine Blue and Burnt Sienna, mixed on the paper for the hair, and I think some Raw Umber in there somewhere. The colours in his shirt and ornament comprise Gold Ochre (W & N PY42), Cadmium Red Pale (Rowney PR108) with touches of Permanent Carmine (W & N PR N/A). I think thats pretty much it.

How do I view this painting? Overall I am quite pleased with it although I was concerned that in my efforts to get the correct skin colours, and handling the very dark areas, I was in danger of `dirtying'  the final result. I tried to correct this with some sponging off paint. My other concern is that I made the eyes slightly too large. This is always a problem with eyes. Are they too small or too large? Generally the tendency is to make them too large. What do you think? It's Micks turn for the May challenge. I wonder what he has in store this time?

Charles Reid's Checklist

Having attended three CR courses, own most of his books and videos, I have compiled a list of bullet points that Charles constantly emphasizes. Here they are in no particular order.

1. First Squint - less is more -is image dark against light - light against dark?

2. Vary finish. Adjust value and colour intensity throughout painting.

3. When short of time begin with darks.

4. Shadow and cast shadow shapes are painting foundation, close in tonal value, but colours varied and mixed on paper.

5. Accurate shapes.

6. Patience and timing! Don't hurry!

7. Basics. Shapes, good tonal value, first try and lose boundaries when two similar tonal values meet.

8. Magic Triangle (1). Three dominant colours or local value shapes form a triangle within painting, two near two of the boundaries and third nearer third boundary or closer to edge.

9. Mix on paper. Less mixing cleaner and clearer colours.

10. Magic Triangle (2). Find two or three elements that you really want to paint. Paint as carefully as possible then omit or simplify rest.

11. Design your page. using areas of explicit detail.

12. Place People first.

13. Edge Control. Soften edges when painting. Squint if easy to see make it hard, if difficult  soften.

14. Paint what's offbeat.

15. Background should support subject but not dominate! Is something in background essential or potentially dangerous? If so leave out!

16. Buildings. Darker tones and detailed towards top. Simplify and lighten middle section, darker tones and more detail at base.

17. Creating success. A. Shapes, local value and edges. B. Colour.

18. When outdoors always paint from dark to light.

19. Buildings. NEVER paint your minds conception of a building. Paint a collection of beautiful colour and shapes, that suggest a building.

20. Loosening up is a state of the mind!

21. Clean palette regularly when painting.

I've just added  points 20 and 21 (20 -09 -10). I should have said earlier that while I would like to say I follow all the above religiously that isn't always the case. One gets carried away - at least I do - and sometimes (often?) plunge in where others fear to tread. There is a dilemma with watercolour that centres around the spontaneous nature of it. Charles and others talk about `happy' accidents (and unhappy ones) and to adopt an over deliberate approach can mitigate against the wonderful possibilities of this medium. Many will disagree, especially those who go in for super realism. Each to his own I say. One of the points above says don't hurry but take your time. In the two artists I mostly lean to, Charles Reid and Judi Whitton, they both take regular breaks when painting.   

I should emphasize that the above is the Charles Reid way. Other artists may well differ and offer completely opposite `rules'. When I read my first CR book, the 2001 flower painting one, I found it difficult to assimilate the quite different approach he advocated. I put it to one side but found myself returning  and gradually becoming interested and then a convert. I should say I am not a sycophantic follower, some of whom you meet on his courses. I don't  rave about everything Charles does, being especially interested in his portrait, figure, and still life work, the latter combining flowers and other objects. There is good stuff in the other subjects he paints but those are my priorities.

I mentioned different approaches. This is something the would-be artist should beware. Different artists say different things and some of it is very contradictory. It is easy to become confused and this - to me - is the problem. Don't take what anyone says as gospel - they aren't always right. This is particularly so regarding things like paint choices. I may post something more on these lines at a future date with examples to prove my point. Regarding the above though I feel much of what Charles says can be usefully applied, regardless of whatever style you choose.

Latest Indian Portrait

I photographed three today starting with my Nikon Digital SLR but unfortunately the battery ran out and I reverted to my old Canon A95. The following portrait photographed the best of the three so I'll have to try again with the Nikon. I'm very much an ad hoc photographer so my results are often variable - much like my painting!

Curley-Bear Blackfoot Chief 1903, Schut Vivace 115lb Not 15" x 11"

He doesn't appear too happy in the original photograph which I think comes through in the painting. Overall I'm quite pleased with this one. The usual mix for the features of Cadmium Red Light, Cad Yellow Light, also Raw Sienna, with Cerulean, Cobalt and Ultramarine Blue in various amounts added to create the darker complexion. 

I'll discuss my palette choices, not that they are anything out of the ordinary, at a future date. I do like to have plenty of options so have a main palette of sixteen colours with a smaller supplementary palette with a further nine. Usually I major on probably no more than six with smaller amounts of several others. I seem to use the earth colours quite extensively. The very limited palette is not for me because I follow the Charles Reid/Judi Whitton approach of trying for a finish first time- which isn't always possible. I also try not to overmix,  mixing where possible on the paper. The American artist Al Stine says, somewhere in one of his books, that he doesn't know any good artist who paints with a first time finish. Obviously he doesn't like such an approach! Is he getting at Charles Reid?

My wife and I are off to Sorrento for a week this Friday, volcano ash permitting, so there will be no more posts for at least ten days. The painting gear is being sorted for packing although the weather forecast is a bit miffy. Still one lives in hope.