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.
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.
I’ve moved to the advert-free Vimeo for my videos. You can follow my channel here.
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.