Watch over my shoulder as I paint one of my largest ever ‘Minchscape’ seascapes, a diptych on two 100x100cm (39×39″) canvases. The commission brief was for it to be bright, abstract in the foreground with yellows, with vivid blues of the sea and sky.
My starting colours were phthalo turquoise and yellow; a delibrate move away from my beloved orange and magenta starting points so it would be a fresh challenge to energise me anew, in the hope this would come across in the painting, which I think it does.
Music by Micah Gilbert, a singer-songwriter who lives a few miles from me.
I decided to call it “Here Comes the Sun” because I ended up with this Beatles song in my head after painting this and because whilst I was painting it I had to put a board up to block the sun shining through the window and lighting up the left-hand canvas from behind.
This little seascape was done on two wooden panels using acrylic over texture paste. If you wonder why the panels aren’t blank when I start, it’s because they’re two I’d previously painted a little on but never taken the ideas further. I knew the texture paste would cover a lot of the colour (it dries as opaque) and that I would then add Payne’s grey acrylic ink as the first colour over the texture, which would hide even more whilst creating a lovely dark in the recesses of the texture. (Note: the video does not have sound.)
If you’ve not met one before, a concertina sketchbook has one long zigzag page that folds up between the covers. How many pages it has and what type of paper depends on the brand; the one I’m using in this video is from Seawhite and slips into a case. (If you don’t see the video below, click here to go to my Vimeo channel.)
I started with Payne’s grey acrylic ink, then watercolour in a dropper bottle (including two granulating greens), watercolour from my set using a brush, acrylic paint (cadmiun yellow light and medium), a mixed blue-grey acrylic ink (the masking tape on the bottle tells me it’s a colour I’ve mixed), white acrylic ink (Sennelier’s super-opaque white), and ultimately a touch of orange acrylic ink to deepen the yellows in the flower centres.
The decision as to how many pages to do was intuitive, a feeling for how many would be manageable across the width of my table (and off a bit) and would probably not be totally dry by the time I got back to the start with a new colour. I’m drawing daisies from a mixture of memory and the ones in the jug in front of me, which I turned around at various points so I was seeing ‘new’ daisies.
The colours initially are a bit gloomy, but when I add the bright green these become “background shadows” and everything turns brighter. I had visualised this brighter layer of green before I started, I just didn’t know exactly when I would do it. I’ve got a list in my mind of what layers I’m going to do (colours/materials) but if you’re new to working like this it’s worth taking the time to draw up a list, and having everything to hand, so when you’re painting the decisions are already made and you can concentrate on painting.
What will I do with the rest of the pages? At the moment my thought is to continue with flowers, probably the pink foxgloves that are flowering now too, but I’ll see what I feel like when I start again.
This is only the second concertina sketchbook I’ve used; the first has a watercolour of the sea/weather from my studio on every pair of pages, with a consistent positioning of the horizon line across the pages (drawn in with a pencil before I started). I’m sure there will be more, not least because I have a little Sennelier one with thicker paper I won in a competition and the Moleskine one the in-house art critic gave me last Christmas to try.
Watch over my shoulder as I paint using the reference photo from the painting project for June as my starting point inspiration (along with my visual memories from the times I’ve been in the Uig woodland and seen bluebells). I’m using an A2 sheet of 350gsm watercolour paper, with watercolour, coloured pencil, and oil pastel.
At one point I take the masking tape off to try to stop myself overworking it; the next day when I continued I taped the edges again, cropping a bit at the top. You’ll see quite a bit of my putting down paint and then lifting most of it off with a piece of paper towel; I was worried about getting too dark too soon, but may well have hesitated too much. The video is at 10x speed, except for the bit where studio cat comes to inspect (at 06:41).
After my painting bluebells on location, I spent an afternoon painting more bluebells in my studio. The timelapse video below gives you a view over my shoulder, without the boring bits such as when I change my brushwater. I’m mostly using watercolour, plus some coloured pencil and, on one, white acrylic ink. These two paintings (now on my webshop) are amongst those in the video:
My first online video tutorial, on mark making for painting the sea, is now available on my on-demand video channel. There are three parts to it: First is my worksheet, which looks at different marks and how to create these using a pen or pencil and three shapes of brush. Second is a demonstration in which I use some of these marks to paint a seascape using watercolour, showing you how to build up layers of pattern to create a finished painting. The third part is a about taking this painting to the next level, using transparent and opaque acrylics
Here’s the trailer (if you don’t see it, click here):
I’m thinking my next online tutorial might be pencil drawing for beginners. If you’ve any requests or suggestions, email me or post a comment on my blog.
My aim was to capture a feeling of the washed-up kelp lying amongst the rocks on the shore at Camus Mor, glowing oranges in the sunshine. I used narrow masking tape to divide a sheet of A3 watercolour paper into four, and some DIY fluid watercolour (or watercolour “ink”). This video is in real time, and you’ll see I’m not spending very long on this. I think it’s essential with this approach to work quickly and just keep going, so you don’t second-guess yourself. Some attempts will work better than others.
(If you don’t see the video above, you’ll find it on my Vimeo channel here.)
This timelapse video was taken as I made my first attempt at painting the red boat and creel nets (see this month’s project instructions). I started with pencil and then coloured pencil, feeling my way towards the idea for a composition I had. I approached it as a study, a first go to explore what appealed about the subject, saving worrying about slowing down to check I was getting all perspective “right” for another time.
After the pencil layers, I blocked in the main shapes using watercolour, then shifted to drawing with Payne’s grey acrylic ink, followed by acrylic paint, ending with oil pastel.
Overall I was pleased with where I ended up at with this painting, and delighted that I’d tackled the subject (boats being something I rarely do). There are things that aren’t totally working, such as the angle of the boat/cabin, depth of its hull, the length of the creel nets, how I’ve fudged what’s happening to the right of the negs, whether there should be pebbles and not just grass behind the nets. These can all be addressed next time, for now I’m enjoying the feel of the string on the creel nets and the line of them leading the eye up, and the decision to have a relatively simple shape of blue at the top (only sea, not sea/sky).
Special thanks to singer-songwriter Micah Gilbert, who lives down the road from me and wrote the music I’ve used on the video. If you use Spotify, go here.
It took an entire afternoon to upload on my single-track broadband (fibre currently ends three miles down the road), but eventually it did. So cue the dramatic music, my very first long video is a now available to rent (watch online) or buy (watch and download) here.
It’s 27 minutes long, featuring me painting this month’s project and “thinking aloud” about what I’m doing. It’s like watching me do a demo in a workshop. (And being on Vimeo rather than YouTube it’s advert-free.)
All my current Patreon subscribers should have received an email with a code to watch it for free; check your spam filters if you haven’t. If you beome a subscriber (on any tier) by 15 January 2020, you’ll also be sent a VIP code. Find out more here…
(If you don’t see the video embedded above, go here…)
Do I get bonus points for ticking something off my to-do list before it’s even fortnight into 2020? Thoughts and comments appreciated, as always.