Sunday morning, studio cat Ghost and I are sitting in the chair listening to Beethoven’s ninth and the birdsong, reading a ‘new’ book that arrived from a secondhand bookshop in the States.
I like these older books because they tend to have more in them, more thoughts and less how-to broken down to the nth. While the photos may be black and white, they’re full of gems that require “reading with a pencil”. Like this:
Sitting in the sunshine at the shore looking out across the bay towards the Shiant Isles, that’s the inspiration behind this painting. It’s somewhere I often sketch, but haven’t done as a painting on a large canvas for some time.
If you’re wondering about the colour differences between these two photos, one was taken on my phone camera and the other on my SLR (“proper”) camera. In terms of which colour is truer to the original, it’s the first, but neither is perfect. What you see in a painting done with texture and multiple layers of paint changes with the light conditions too.
Here are a few work-in-progress photos from this painting:
We share a journey, a destination, provide one other with help, encouragement, motivation, direction, rest, but in every workshop I’ve taught or been on there are moments of intense silence when we’re all alone with our painting. Call it “in the zone”, call it “the muse whispering in your ear”, it’s a state of mind that can bring results that suprise and delight.
My thanks to all participants in my workshop at Higham Hall for your enthusiasm and to everyone at Higham for all you do to make it happen in such a special venue. I thoroughly enjoyed the week, and look forward to next time.
The week started and ended with blue sky, with beautiful sunrises, hail, storm winds, and snow inbetween. Felt just like Skye!
It’s up to tutors to decide how to use the space. I like to set the studio up with an area with tables where we work together as a group on specific activities I set, and then use the three alcoves as areas where people work alone if they wish. All those hours playing Tetris came in useful to fit in 10 of the high-adjustable tables so everyone could have one to themselves.
Because I’ll be starting my Higham Hall workshop with continuous line drawing and want participants to easily find these two videos, I’m putting them together in this blogpost. No doubt with the right cable I will be able to play them on the TV in the studio at Higham Hall, but this is the backup plan. Or maybe given my love of cables that’s the backup plan and this is Plan A.
Blooms, washbacks, backflow, cauliflowers … whatever you call it when you’re painting wet-into-wet watercolour and the colour you just applied pushes out the one already down, rather than making friends and sitting with it. There’s one rule to avoiding it (or to use if you deliberately want to get this result, much as watercolour purists might shudder at the thought). In the words of that skilled Australian watercolourist John Lovett:
If you are painting a soft edge into a wet wash, make sure there is more pigment in the color you are applying than is in the underlying wash or obvious blooms will be created.” Source: John Lovett, Watercolour Edges
So how do you know whether you’ve got more pigment or not? Like everything, practice. It starts by deliberately considering it, and eventually it becomes ingrained knowledge, instinctive. If in doubt, add more pigment (“thick paint”). Or pull some of the water from the brush hairs by holding a piece of paper towel to the ferrule end of the hairs, a tip the artist Katie Lee taught me.
There’s now one less thing to worry about when painting, and it’s how much water you can or should mix with acrylic paint without ruining its adhesion. Golden Artist Colors (a USA employee-owned company renowned for its artist’s quality paint and techical info) have updated their advice:
“For years our standard advice was that a 1:1 ratio was very safe for most of our paints and mediums; plus, it had the advantage of being easy to remember while greatly erring on the side of caution. However, our current testing shows you can go a lot further than that before encountering significant issues. Just how far? We think you will be surprised.”
The article gets into the specifics, but for me this is the takeaway:
“We got no adhesion failure of any of our paints, no matter how thinned down with water, when applied on top of acrylic gesso.”
In the FAQ on thinning acrylics I wrote for Painting.About.com in 2006 (my original version, as here, not the current surreal rewritten-by-who-knows-who version) I’d said this:
“When it comes to thinning acrylics, the only ‘rule’ is to not mix acrylic paint with more than 50 per cent water. Any more than this and it may loose its adhesive qualities and peel off at some stage. You can mix in as much acrylic medium (glazing, texture paste, etc) as you like because it’s got the acrylic resin in it that acts as the ‘glue’ that makes the paint ‘stick’. (Golden describe their mediums as ‘colorless paint’! )”
If painting on a large canvas, I tend to use glazing medium as well as water to thin paint because in addition to adding “glue” it also increases working time (slows drying). Mostly I simply don’t think about it, and merrily spray paint with water to make it drip and run.
Where I have encountered adhesion issues is with water-thinned acrylic ink lifting as I brush over it, despite being touch dry. Leaving it overnight helps, presumably as the paint binder then cures. I sometimes then also apply a layer of glazing medium with a soft brush, leaving this overnight again, before continuing on top. But mostly if I find it’s lifting — you see the colour appearing on the brush — I just keep going and deal with it.