Second Attempt

This is the second attempt at the Acoma Indian Woman. This is the initial loose drawing

This is stage one initially painting the face.

Acoma Indian Woman 18" x 14" Waterford Not

Photographed 29/06 using My Nikon DSLR with 55mm lens. This is more accurate.

The more I looked at the first painting  the more I realised how poor it was. This is my second attempt and while not perfect feel it is better. Colours used for the face were Cad Red Light (PR108) and Cad Yellow Light (PY35) together with Cerulean (PB35-W and N), Ultramarine (PB29) and Cobalt Blue (PB72) both Rowney. For the headdress I utilized Cerulean, Ultramarine Blue and  Ultramarine Violet (PB15-Rowney)  with some Viridian (PG18),. The hair was Quinacridone Gold (PO48)  and Raw Sienna (Pbr7) both Maimeri. Also touches of Burnt Umber here and there with some Cadmium Orange (Maimeri PO20) to warm it up. I think the painting is actually better than the representation in the photograph. I once again add the disclaimer that I am not claiming this a great watercolour, just my watercolour. I studied several of Charles Reid's paintings before deciding how to tackle it. Looking at it I decided not to overdo the darks and only used the original photo as a guide..

Footnote Added 29/06: Looking at this photograph and then the original painting it seems it looks somewhat lighter and possibly `washed out' compared to the actual painting. My ad hoc photography is probably responsible. I have now made another attempt to photograph the painting and the result is above.

Latest Indian Paintings

Acoma Woman 1900 16" x 12" Not

American Horse Oglala Sioux 1880

18" x 14" Waterford Not

Sitting Bull Huncpapa Sioux Holy Man

15" x 11" Fabriano Artistico Not.

I've done several of Sitting Bull because he has such a strong face. Some of the others aren't bad, one posted previously,  but I think this better. I recently found a new photograph on www.firstpeople.us/ . American Horse was also a famous warrior and I wanted to try a portrait with a different angle. This is the second try with a different indian subject.

As for the Acoma woman I know little about her, again culled from first people, but I was intrigued by the sense of mystery in the photograph. I have changed things quite a bit because on the photo she was surrounded by very dark shadows. I tried a main colour scheme of Maimeri Avignon Orange (PR206) and
complementary colours Rowney's Viridian (PG18) and Hookers Green (PG7/PO48) Maimeri version. There is some doubt about the inclusion of PO48 as it is now supposedly unavailable. The Windsor and Newton and Rowney equivalents to Avignon Orange are Brown Madder and  Transparent Red Brown respectively. Even though the pigment is the same the colours may vary slightly with different manufacturing processes. In all three cases the faces were painted using a mixture of Cadmium Red Light (PR108), Cadmium Yellow Light (PY35) darkened where appropriate with either Cerulean (PB35), Cobalt Blue Deep (PB72) or Ultramarine Blue (PB29). I emphasize pigments rather than `colours' as suggested by Bruce McEvoy of Handprint.

I'm fairly happy with the paintings of Sitting Bull and American Horse but concerned about the Acoma woman. I experimented with the Shirley Trevena method of creating texture by using some emery paper on the coloured core of watercolour pencils and getting flecks of colour but I think it either didn't work well or I need to improve my method of doing it. It has tended to dirty the colour. Paint in haste repent at leisure! I shall another try at this one. Footnote added later: This portrait didn't work unfortunately and it just wasn't the attempt to add texture. I shall try again.

One change I have made is that, following Charles Reid suggesting in one of his books that pan colours might be better with which to paint the face, I did so then switched to tube colours.

On watercolour paper

My friend Mick asked recently how I was getting on with the new Waterford `High White' paper. So far not very well. Ken Bromley http://www.artsupplies.co.uk/  writes, in the most recent catalogue, that St Cuthberts Mill made the new paper after requests from professional artists who were searching for a whiter shade of watercolour paper, but without compromising on quality. It also goes on to say `With the new `High White' shade the paint pigments will appear more vivid, and with more sparkle, giving the whole a fresher look....a whiter shade will make finished paintings more contemporary looking, as artists have commented that they felt the original white colour created a more antique look to their finished compositions'.   Incidentally Bromley are also advertising another new watercolour paper called `Millford' This is a replacement for Whatman, which has been discontinued, and is 100% cotton rag, mould made and trimmed four edges. Discounted price is £17.95p per pack of five 30" x 22" sheets.  Slightly cheaper than Arches.

This is news to me and I wonder who these professional artists are? In any event a very good  `Extra White' shade of Artistico has been available from Fabriano for some time  http://www.jacksonsart.co.uk/  but Bromley don't sell it.

Myself and two other artists from my Avon Valley Art Group tried this new paper, in all three versions, HP, Not and Rough. The others, both very good painters tried, respectively, the HP and Not. neither liked the new paper and Yvonne, who is an excellent flower painter, said she would stick to Artistico `Extra White' which she considered much superior.  I have so far attempted  three paintings with it and none have been satisfactory. Of course I'm only a poor old amateur so take my experience how you will. Possibly it takes some getting used to but I have done many paintings on Fabriano `Extra White' and found the paper generally excellent. I won't give up on it yet and will report further in the near future.

Recently another new paper has been introduced by the German company Great Art http://www.greatart.co.uk/. They are making quite large claims for it `prices never seen before for such a high quality range'. `the very finest watercolour paper' etc etc. It is made from 100% cotton but so are many other good papers including Waterford, Artistico, Lana and others. This paper is called `CENTENAIRE' and you can order  a sample which I did. Unfortunately this is only about six inches square. I ordered the Not version, also available in Rough, which  has quite a smooth surface and duly tried a few swatches of several colours. On this very small sample I can't see what the fuss is about especially as the prices quoted are not particularly keen. It is available in blocks of 20 sheets, six sizes from 18x26cm to 46x5lcm and also sheets 56x76cm. The block prices are reasonably comparable, being dearer than Waterford but cheaper than Fabriano, although Fabriano sizes are slightly larger, 18" x 12" for example as opposed to 16" X 12". In the case of sheets they are not competitive except with the dearest available which is Arches. Five sheets, the only option, are £13.75p. I recently completed a survey for Great Art in which I pointed out their paper prices were not as good as Bromley and Jackson's where they sold the comparable makes. Great Art do have a much larger range of watercolour paper overall. Incidentally if you buy as an art group, Great Art offer 15% off catalogue prices when the annual edition is launched and subsequent orders 10% so this is a factor but not for the individual artist. I paid £3 for the first catalogue to get this deal then another three arrived (separately) unsolicited!

It will be interesting to see what the artist's magazines have to say about these papers if and when they review them. I take such reviews with a big pinch of salt because invariably they are more concerned, so it seems to me, about their advertising revenue and appear to pull their punches and then some. I've never seen a bad review yet. I recently was in communication with The Artists editor about Windsor and Newton's Cotman policy, sending her copies of my e-mail correspondence with the company.  I was fobbed off with `very interesting I'll take it up with W and N when I meet them in March' or something similar. Needless to say nothing has appeared in the magazine so take what magazines recommend, and some professional artists, with a pinch of salt and a healthy dose of scepticism. Incidentally I don't have a grudge against `The Artist', subscribe to it and think it  excellent on most counts.

Latest Acquisitions

The Variscaler

I don't have many books on pure drawing, the most important ones being `Keys to Drawing' by Bert Dodson, which was recommended by Charles Reid, `Drawing on the Right Side of the Brain'  by Betty Edwards and `Drawing and Sketching' by John Palmer. None of these are what you might term orthodox drawing books of which there are many. I have one or two others.

Recently on a visit to pick up a book at my local library I noticed the figure drawing book above on the `new acquisitions' shelf. On impulse I loaned it and after perusing  thought it worth acquiring permanently. On searching Amazon http://www.amazon.co.uk/ I discovered the author, one Barrington Barber, to have a whole range of books basically all on various facets of drawing. Amazingly Amazon list 67 although this includes some duplications, different editions of the same book, and also several translatuions in at least three other languages. I confess I'd never heard of him but he is obviously highly regarded in his field and currently combines teaching art with ` a successful career as a commercial illustrator and artist'. He is British and enquiries on Google bring up more information. These books are not expensive most retailing at around £9.99 and available on Amazon at a good discount. I ordered the figure and portrait books but Amazon, after initially accepting the order, e-mailed to say the portrait book was unavailable. On to the second hand internet mecca Abebooks http://www.abebooks.co.uk/ . Sure enough they had several copies and I noticed the second supplier listed was Bookbarn in Somerset. As we intended to go to a farmshop the following week, and would pass Bookbarn on the way, I decided not to pay the postal charges but call in. To cut a long story short I bought the book for £2, in mint condition, not before querying why they wanted to charge me £4.40 when the internet price was £2.30! This confirms one of the rules from my days of selling which is `if you don't ask you don't get!  I am very much into the Charles Reid contour drawing system but I like the look of the above books and am sure they will be helpful.

On to my second recent acquisition which is a proportional divider. My drawing skills still need much polishing and while I usually get there in the end it can be a tortuous process. Anything that helps to speed up things and ensure a more accurate result is worth a try.  I initially bought a cheap one from the SAA, to which my local AVA group is affiliated. This was rather rough and ready and also quite large so after trying it a few times, and  deciding the principle was useful, I sought a better instrument. If you Google `proportional divider' the results are fascinating. The history of such things comes up and on offer are a whole range including very expensive antique versions. I finally settled on something called the Variscaler from Black Mouse www.blackmouse.co.uk/variscaler.htm . It cost £25 plus carriage and is a well-made instrument in brass in a nice wooden case. Full instructions came with it and while I have not yet fully come to grips with using it I hope to do so soon. My intention is not to produce highly detailed drawings but mark key points in the drawing to use as guides, aiming for a loose but accurate result. 

JACKSON'S Eco Handmade

Last year Jacksons launched a new handmade paper from India. 100% recycled cotton and produced in a factory where the water used in the process is then run off to irrigate the field surrounding the factory. The price is good, lower than those of the mould made papers  like Waterford and Fabriano, and half the price of Arches. As well as asking for and receiving the free paper samples PJESAM, I purchased two full sheets of the 140lb  smooth/medium. It comes in three weights including 560lb(!) and three surfaces. The samples were given to three other artists at my Avon Valley Group for them to try. They all gave the paper a big thumbs down.  Yesterday I decided to try painting on it. This is the result.

Jackson's Eco Handmade 22" x 14" 140lb smooth/medium 'The Marina Grande at Sorrento'

The paper is roughly made and tends to be on the bumpy side. Although supposedly 140lb it seems thicker and possibly heavier than the mould-made products. The surface is similarly `rough' in consistency. I first made the drawing and the pencil seemed to drag on the paper somewhat. When I began painting the surface  scuffed in places very easily and wasn't consistent. It took the colour moderately well but I almost gave up on it at times. Unfortunately I can't give it much of a recommendation which is a pity. My fellow artists likened it to blotting paper and were even more critical, although they only had small samples. I can't think what sort of watercolour painting it would suit. Maybe collage but what else?

Note added 1 June: I forgot to mention that I taped the paper to my board and when I came to remove it, literally only two hours or so later, it ripped the paper very badly.     

More Recent Paintings

Sitting Bull and Captain Jack.

SB was the famous Sioux medicine man involved with the destruction of the 7th Cavalry under Custer, while Captain Jack was the leader of the small band of Modocs who gave the US army the runaround in the late 1870's. In  the film Jack was portrayed by Charles Bronson!

Judi painting at the Gannel Estuary, Newquay October 2009.

15" x 11" Not

I was on a painting course with Judi Whitton late last year and took a photograph from which I later did this painting. This was my second attempt.

`Crow Eagle' 15" x 11" Fabriano Artistico 90lb Not

Another effort at Crow Eagle, one of several less than 100% satisfactory efforts. I have done worse than this one.

"Messing about on the River" 19" x 14" 152lb Veneto Not

This painting was for the `end of term' competition at my Bathampton Art Group. We have a competition and vote for the painting we consider the best. I think mine only got one vote and that was the lady who sits alongside me when we paint! I basically opted for a simple composition which went down like a lead balloon.

View down to terrace from 4th floor room balcony Hotel Royal Sorrento

12" x 16" Waterford Not

This one is the last painting I did at Sorrento with the addition of the three half pans I was able to buy in Amalfi. I was not very struck by it but at least I made the effort.

Michael Caine 15" x 11" Fabriano Artistico Not

One I did a while ago for a competition at Bathampton `Celebrity Portrait'. In the event the one I put in was of Clint Eastwood. I thought it was quite good but it came nowhere in the voting.

Sitting Bull, Huncpapa Sioux 15" x 11" Not

 Painted earlier this year or late last year, can't remember which. A reasonable likeness.

Latest Painting

This was painted at my last thursday Avon Valley Artists session. The subject was `a rainy day' and I obtained the photo from Google images. There did not appear to be any copyright restrictions but in any event it is just an exercise in painting from a photograph.

`Geisha in the Rain' 12" x 16" Saunders Waterford Not 

 When choosing the  photograph I wanted something different and worked on Charles Reid's dictum of picking offbeat subjects. Overall I think it works quite well. It was mostly painted using my new Da Vinci Artissimo 44 No 2 Kolinsky Mop purchased from Jacksons. The brush head is roughly equivalent to a good number 12 standard Kolinsky although the handle is shorter. I used a number 4 for the detail in the features. I actually did the drawing the previous day so when I was at the Hall could concentrate solely on the painting. I find this is beneficial.

The Blues in Sorrento!

View from balcony of room, 4th floor Hotel Royal Sorrento, Vesuvius in background.

Actually I need to explain myself. After taking considerable trouble to decide what painting kit to take with me to Sorrento I committed an unpardonable sin. When waiting for our baggage at Naples airport I was suddenly struck by a horrible realization. I had forgotten to bring my main painting box and had only a mishmash of supplementary paints! What a disaster! My wife says it shows I am losing it so it's double doses of Ginkgo Biloba from now on.

I had everything else but what could I do with the paints I had ? My supplementary paintbox, occasionally brought into play, contains Greengold (PY129), Indian Yellow (PY153), Permanent Magenta (PV23), Opera Rose (PR122 plus a dye), Permanent Rose (PV19), Avignon Orange (PR206), Indanthrene Blue (PB60), Hookers Green (PG7/PO49) and Ivory Black (PBk9). The odd tubes I put in the bag were two or three versions of Naples Yellow (Reddish etc), Ultramarine Pink (PR259) and Quinacridone Rust (PO48). The latter were intended for the colours of buildings in Italy. I only brought the supplementary box as an afterthought.

I first tried an experimental painting on the terrace of the hotel, which is on the cliff top facing the sea. The main problem as I saw it was the lack of a decent set of primary colours - no blue apart from Indanthrene blue, no primary yellow either. When It came to the sky I was scuppered so the hunt began for an art shop to supplement what I had. The holiday representative tried to be helpful but the end result was NOTHING! The only paints available in Sorrento were  two solitary boxes of Cotmans priced at 34 and 74 euros.  No sale.
We arrived late on Friday and had opted for a trip to Amalfi on Monday. The thought occured might there be something available in Amalfi, although as a smaller town than Sorrento I didn't hold out much hope. However on arrival I explained my predicament to the young lady who was the guide for the day, and although she wasn't optimistic directed me to a shop specializing in various stationery and paper products. After  a good look around I discovered a small area where there were some brushes, and on further inspection found a small tray underneath holding some Maimeri half pans. That was the good news. The bad news was the selection of colours was minimal but I managed to find Cyan Blue (PB15:3) Permanent Green (PGY/PY175) and  Permanent Yellow Lemon (PY175). Thinking I might find something else further up the main street which winds upwards off we went. To cut a long story short no luck! But I did discover a small shop, the shops are all small, selling paper of various sorts which seemed to include watercolour paper. This was confirmed and some small and medium sized sheets were produced. by the lady serving. I chose the 16" x 12" largest size and on enquiring whether it was hand-made, a stupid question really, the lady immediately said "Yes, by me at my factory over there" waving her hand in an easterly direction. I asked for 5 sheets (ten euros) but got six for the same price. The paper has a beautiful soft feel although quite light, possibly 90lbs. That doesn't bother me because I do some paintings on 90lb Fabriano and my style of trying for a finish first time, with no big washes, means I can use lighter paper, although 140lb is the staple. The paper is expensive compared to the usual mould-made but I was on holiday so.... I discovered, should have known, that Amalfi is famous for paper of different sorts and the  address and name  for this supplier is: Arte e Carta, di Rita di Cavaliere, via P.Capuano, 30 84011 Amalfi (Sa). She even has an e-mail address: arteccarta@hotmail.it

If you visit Amalfi, and almost everybody who goes to the Sorrento area does, then call in the shop. What first attracted me were the lovely small drawings and paintings in the window, obviously done on the paper she produces.

How did I get on with the painting using this unfamiliar hotchpotch of paints? Not terribly well although I did some painting from the balcony shown above and a couple more from the terrace down below. I was tempted to post one of them but decided against. It was a useful exercise trying to paint with an unfamiliar set but not one I wish to repeat so I definately won't make the same mistake again. I did take many photos at the old fishing port called the Marina Grande. Lots of boats and things. Hope to do something with them in due course.

One final glitch (almost). When I packed my art materials the tripod and mdf board (with attached Ken Bromley bracket) plus paper went into  one of our cases. My backpack held everything else including my Walkstool. On going through the checking area at Naples airport the bag was x-rayed then pulled out and inspected. A young lady said the Walkstool couldn't go on the plane and would have to go back via luggage  at the entrance of the airport, some distance away. This was a potential nightmare but fortunately another young lady appeared and waved us through. It was nearly inspected again when a holdup occured at the boarding gate and two officials started pulling people out of the queue, pulling their hand luggage apart. Luckily not mine, especially after the incident over the Walkstool. I'm all for airport security but the Walkstool in its bag is only about 12" long and weighs eighteen ounces. In future in the case it goes.

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.  

Plein Air

For the first time this year I was able to paint outside this last weekend. The location is about 100 yards from my home, which although in a modern estate is on the edge of farmland. I have painted this scene many times with varying results.

The first attempt was last Saturday and after unloading all my kit I realised I had forgotten the walkstool! This obliged me to paint standing up which I'm not comfortable with. I know many top artists like Trevor Chamberlain say you should stand up to paint but each to his own. I don't have the steadiest of hands and sitting down enables me to overcome this handicap by resting my little finger on the paper a la Charles Reid. The first painting was unsatisfactory once I had a good look at it and it was soon discarded. This prompted me to try again, and with excellent weather conditions I returned  on Sunday to the same spot. The resulting painting, which I was more careful with follows.

Fabriano Artistico Not 19" x 15" Keynsham Manor

Keynsham Manor has a long history going back some hundreds of years. There are a pair of really enormous beech trees at the entrance, which I relegated to a minor role and simplified. They tower way above. Owls usually nest in one of them. Overall it is a very complicated subject with masses of `stuff'  and in the past I've often tried to put too much in. The Manor is now split into three separate residences and I know the couple who own it and live in one section. John has told me something of the history.