There’s one little tree in the Uig woodland that wears its autumn colours later and longer than the rest. I call it the “The Little Tree That Could” (context: the children’s book The Little Engine That Couldwith the lines “I think I can, I think I can … I knew I could“) and first painted it in 2014 (see this blog). On Monday I went to say hello again, taking my watercolours and some acrylic ink (video link if you don’t see it below).
This video was taken when I started moving the colour around with a rigger. (It goes a awry for a bit as I open a bottle to add more orange, just skip that bit. Video link)
My fourth painting is my favourite, ending up a bit like Moses’ burning bush. Watercolour only.
I was sitting on a convenient rock next to the stone wall. 1 = Watercolour set. 2 = Painting drying. 3 = A bit of waterproof padding to sit on. 4 = Plastic folder with paper that also serves as a ‘drawing board’. 5 = Inks and fluid watercolour in plastic box. 6 = Water bottle (for me before my brushes) 7 = Backpack with raincoat, biscuits etc.
This is a timelapse video of me creating a painting for October’s painting project of part of the bay at Camus Mor. It’s acrylic and oil pastel on watercolour paper.
NOTE: Be warned, the light in the video flickers somewhat as the camera tries to deal with my moving around. I might just have to do video on overcast days only. And, yes, at one point Studio Cat Ghost is riding on my shoulders (around 03:51)
You’ll see I initially sketch the cliffs to far to the right, but don’t bother erasing the incorrect lines as I know I’ll be painting over these with opaque colours. Then I start covering all the white, or blocking on areas Colours used: cadmium yellow, quinacridone gold, phthalo turquoise, cadmium orange, magenta, Prussian blue, perylene green, titanium white. Plus oil pastel. Medium and small flat brush; rigger brush.
The phtalo turquoise is a bit intense; my thought was that I didn’t want too dark a dark at that stage and that a green-blue would give a sense of the green on the hilltop and reflected in the sea. After I’d done it, I then worked at subduing it hrough layers without obliterating it
At 04:44 i’m using oil pastel to fix the edge where I’d torn it taking off the tape (I really should be more patient and careful doing this!).
When I looked at the painting the day after with fresh eyes, I realised I’d aligned the sea horizon with the edge of the headland, and that the sea was pouring off to the right. I used some oil pastel to move the horizon up a bit and straighten it. The yellow-orange in the foreground could be more golden, and I might still glaze some quinacridone gold over this.
One of my reasons for selecting Portree harbour as the subject for September’s monthly painting project was to get me past the point of merely thinking about painting it and to give it a go, all that perspective in the buildings or not. The video below is of my very first attempt at this subject.
I regard it more as an exploratory study than an resolved painting, there are bits that I like and bits I don’t. Most of all it’s a painting that has got me past my fear of the subject, made me study the scene, and motivated me to try again.
I have since changed the building that shouldn’t have been pink to yellow using acrylic paint, but otherwise am not going to ‘fix’ this painting. Its job is to help me create other, future paintings. I think there’s too much black on the hillside, and some of the ink work is too messy rather than linear. My favourite bit is the water, and that I did it at all.
The non-photo blue pencil I started theoretically is easy to eliminate from photos; I like it for its soft colour that gives me a round of sketching before I get to graphite. I used a propelling pencil with 2B because it means I don’t have to stop to sharpen a pencil.
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This video shows me painting on the middle of my trio of tall trees from yesterday’s blog. I used an unfinished seascape with texture paste, starting with yellow acrylic ink which I knew was transparent enough to turn the blues to greens. I had the canvas sideways so I could easily reach edge to edge, rather than having to stretch across it.
The in-house art critic asked how I decide where to put the “blobs of colour”. The answer “I know it’s only to go on the trunk and just random” is inadequate, apparently, so I’ll be trying to figure it out more and put it into words.
This video is a speeded up version (eight times faster than real life) of four of the paintings I’ve done with this month’s Tall Trees painting project as the starting point. I’m using acrylic ink (no prizes for guessing it’s Payne’s grey) and DIY watercolour “ink” (hematite genuine and undersea green, both distinctive Daniel Smith colours).
If you’re a Project Subscriber, you should already have received the link to the real-time video of the first of these paintings, or go here. As a celebration of summer (or the thought of summer if you’re in the southern hemisphere), I’ve set the real-time video so that If you become a patron today via Patreon, including at the $2/month level, you’ll be able to watch this.
Which do you prefer? Speeded-up or real-time, a bit of both or speeded-up a little? Post a comment and let me know.
So having discovered my phone has a slow-motion option on its videos, I’ve been playing with it a bit. This short clip shows how I splatter paint, a technique I use a lot for my sheep and seascape paintings.
It’s a “happy accident” technique you learn to control through practice. The consistency of the paint is crucial, and that you learn through trial-and-error.
The quality of the video isn’t brilliant because it was done late afternoon in low winter light. And imagine my phone balance precariously on my tripod, held by various bulldogclips. Perhaps I ought to set a Patreon goal that relates to better video equipment?
This time of year, between the position of the sun in the sky and the long daylight hours, there’s lots of light bouncing off the sea in the afternoon as the sun heads to the horizon. Little wonder then I’ve found myself reaching for iridescent pearl not only for my current silver birch painting but also my Minch seascape paintings-in-progress. It conveys the silvery glare beautifully and works both in the top layer and lower layers. A little can be quite determined to show through layers! Depending on the light falling on the painting, and your viewing position, you may see lots of it or you may see nothing at all.
Q: “Loved your flower painting; what size and type brush did you use for the petals? –M.W.”
A: It’s a large, flat, coarse, hog hair one that’s about two inches wide. They’re sometimes called a varnishing brush.
Here’s a short video clip to give you an idea of what I’m doing. Working wet-on-wet, remember is to wipe the brush regularly so you can pick up and apply ‘clean colour’. Remember too that whether the brushstroke is into the yellow or coming out of it influences how mixed the white becomes. Don’t second guess yourself but keep going. Mistakes can be rectified and overpainted later. She who hesitates is lost and all that.