It was great to see so many familiar faces at Patchings Art Festival earlier this month, and exchange experiences with many of the artists and exhibitors. It’s a wonderful show that seems to get better every year, so if you’ve not been then put it in your diary for next July. As well as demonstrating the fabulous Waterford papers in the St Cuthberts marquee I had a stand next door. With just Jenny and myself on the stand we were run ragged and completely sold out of how-to-paint books by the third morning. We also ran out of some of the exciting Daniel Smith watercolour paints, despite an emergency deliver from DSHQ!
We almost sold out of my new Arctic Light book as well. It’s had some tremendous reviews, with its wide range of subjects, including several painting techniques that I haven’t featured in books before. I particularly enjoyed creating the wildlife paintings, especially those where I spent quite some time with the animals, studying both their form and ways. My favourite poseur was the walrus, generally an amiable fellow on land, especially when basking in the sunshine, though he can be rather vicious in the water if he takes a dislike to you!
At a bull walrus colony on Svalbard I found these beasts in a great many fascinating poses – many more than shown here – and in order to feature as many of these as I could in the book I decided to render them as a montage on one large sheet of Saunders Waterford hot-pressed paper. This paper really enhances the detail in the walrus’s extremely textured hide. It’s really worth thinking about creating a montage where you wish to display a variety of actions or features in a scene, and perhaps add a little bit of humour at the same time. I also did a similar montage depicting the amazing actions of a single polar bear. Great fun!
Many folk ask why I didn’t use masking fluid in a demonstration painting where I needed to reserve white areas, and this is a constant source of concern to artists. Often the decision depends on how you feel about the use of the fluid, and in my case I normally only use it when there are intricate details in white, or a light tone.
In this detail of a watercolour of the old harbour at Fishguard I made quite extensive use of masking fluid on the roofs and chimneys, the clothesline, steps and white highlights on the water. This allowed me to brush the sky wash vigorously across the paper and over the tops of the roofs, and later to apply the dark washes over the harbour wall and steps and the background to the clothesline without having to fiddle. The same applied to the sparkling water where I used cobalt blue.
I sometimes work round these features to create the negative shapes, but this can make the background appear overworked or splotchy, and take away the freshness. However, developing your skills at negative painting is invaluable, and is an excellent alternative to masking fluid. You will notice in this painting that there are tiny white features such as gulls, masts and ropes hanging from the harbour wall. These were rendered with white gouache, as I prefer this where the feature is so thin that masking fluid can appear clumsy. Gouache is also really effective for tidying up bits that haven’t quite worked.
I hope you all have a great festive season, and maybe Santa has left you an arty treat in your stocking to help get you going again with your painting. I shall try and snatch a few moments in the great outdoors with my paintbrushes. May you have much success with your painting in 2017
Don’t you wish sometimes that life could be really dull, drab and boring? It can get a little too exciting for much of the time, leaving you breathless and with no time to sit back and recall all the fun you’ve had. Being out on the hills tends to energise me and is far more pleasant than sitting in the studio, especially when you have to listen to the racket of builders across the road with their loud radios and screaming stone-cutters. And I usually take a cappuccino and Danish pastry out with me anyway – it’s amazing how it helps the washes flow across the paper!
When I went out recently on the Brecon Beacons, I took with me some small sample sheets of the new Saunders Waterford High-White hot-pressed paper from St Cuthberts Mill. It really is delightfully smooth and as one would expect with St Cuthberts, it takes the washes well. As you can see in the rough sketch, the snow really does stand out on this paper. Note how the terracing of the rock outcrops appears in broken horizontal lines, with a few gullies sweeping down here and there. It’s important to spend a few moments observing these aspects as they give a marvellous sense of place in your work. This paper also works well for wash and line work, and should be in the art shops fairly soon. I can’t wait to work on some big sheets.
I shall be demonstrating at Patchings Art Festival next month in the St Cuthberts Mill marquee, on the 9th, 10th and 11th June, so I hope you can come along and enjoy the event. It’s always a great pleasure to be there, with so many artists and crafts-people, and of course, all the materials to check out. And make sure you try out some of the Waterford HP paper!