Now that we are all indoors due to COVID-19 I have decided to paint a bright, uplifting and perhaps challenging project for us to tackle together.
Materials you will need
Water Soluble coloured pencils (optional, but useful)
Watercolours, either pans or tubes
2 natural round size 12 brushes (I am using my Classic Round)
1 Pyramid, or Sword brush
Golden Leaf brush
Water spritzer
In my little courtyard garden I have daffodils and hyacinths flowering, so that will be my composition. If you have something similar, use what you have. Your colours might be different, but if you are in that 'intermediate' group, you will be fine.
When I begin a composition, I use real flowers. but I don't necessarily arrange them in a vase to paint them. I think this may stem from my design background, so for this project I am going to create a composition that flows across the paper in a 'bouquet' format.
This is a great way to work if for example, you have just one or two flowers blooming in the garden, but your composition can have the same flower positioned differently to give the illusion that you have half a dozen of them (sneaky or what!) I know, who would have thought it?
I am beginning by using water soluble coloured drawing pencils to draw the centre of my composition in the middle of a sheet of not surface watercolour paper 15 x 22 inches.
These lines will disappear into my painting.
Sorry this photo is a bit dark, but I take it with my ipad as I go along, I'm sure you will be able to make it out though.
Beginning with a strong Orange and Yellow, and my Classic brush, I paint the centre of the first daffodil, then immediately I use the second clean brush which is just wet, to wet the paper adjacent to my colour, touching the edge to 'invite' the colour to move into the wet area.
Using the first brush again, I apply the colour (still on the brush) to paint the centre of the second flower, the again, using the second wet brush, I wet the paper next to the area I want to invite the colour into.
I do the same for the other flowers in my composition.
So far so good?
Now at this stage you might like to wait for that to dry. I don't, I keep going, however, its 'safer' to wait.
Using a strong colour mix, I paint the individual flower shapes of the first hyacinth. Whilst these are still wet I spray water using a spritzer, shielding any flowers I want to avoid using the cupped palm of my left hand. This diffuses the solid shapes and makes the hyacinth appear 'fuller'. Using my wet brush I wet the outer areas with clean water 'catching' the edges of the hyacinth in places so that the flower has a 'soft feel to it'
At this point I like to flick paint from my brush into the wet section. You will notice tiny drops of the purple paint that has landed on the daffodils as well as the background. I leave these, I don't try and lift them or mess with them, but you might like to ignore this bit unless you are confident at 'flicking' the paint out of the end of the brush.
Whilst the flower is still wet, I paint the stem. Its important that this merges with some of the purple, otherwise it may appear to be separate and not part of the flower.
I repeat this process for the second flower.
Let the whole thing dry.
I now go and make a cup of tea, catch up with something else, in other words, I walk away.
Over the years I have learnt that although I decide I wont touch it, I always want to prod at it, and if I do, I always regret it, so I walk away.
Its now time to begin adding background colour. My advice about backgrounds is never to leave them until the end, always incorporate them either at the start of the painting, or near the start.
I am going to use the same yellow but very dilute, carefully painting around any of the white or light petals, using my Classic brush, then adding water to my brush as I encourage the paint away from the flowers.
Where this colour meets the pale purple, I want to give the impression that it was all painted wet into wet, so lovely soft edges are vital here.
This is a close up showing how the yellow meets the blue as well as how the coloured pencil lines have dissolved into the flower sections that have been wet.
Now I begin to add leaves and buds. Any flowers or buds that 'join' sections of green, need to be painted at the same time. The flower and green together.
This may seem risky, but the results are far more natural looking.
Beginning with the two buds, once again I use two Classic brushes, one will hold the yellow, the other, green.
Beginning at the end of the bud on the left, I place the Classic brush onto the paper and pull it back towards the green area, immediately using the second brush with the green paint, I place that brush onto the yellow, pulling it and lifting to create the belly of the bud and the stem.
The green should merge a little with the yellow.
I repeat the process for the second bud without reloading the green, so that hardly any green is applied to the yellow of the second bud.
Next its the leaves.
For the smaller longer leaves, I use my Pyramid brush, but you could use a sword brush, and for the wider leaves, I use my Classic 12 again.
I often begin at the tip of the leaf drawing the brush back towards the flowers, but sometimes I work from the flowers outwards. Importantly, I paint three or four leaves, and whilst they are still wet, I use the Golden Leaf brush, damp with water but not wet, I stipple next to the sections of the leaf where I want to diffuse it into the background, allowing some of the brush hair to 'catch' the edge of the leaves and pull it away from the leaf.
I do this in sections, not all the way around the leaves. (Unless they are in the background)
If you want to watch some great tips on painting flowers and leaves there is a section within the Project Library if you are interested. There is also a full project with roses and leaves.
This is a good place to stop for today.
The next section will be available tomorrow.
Seeing is more than just looking, so today I thought you might enjoy a 'looking exercise'.
Its a drizzly dark day here, but this flat light is very good for observing tones and colour, so I am going to use a white object, and yes, I know it sounds odd but I am going to look for colour as well as tones.
This is a white bowl on a white piece of paper.
The light is natural light coming from the window behind it, so it appears quite dark.
In fact, it is very dark in places.
I'm going to ask you some questions, which I will have answers for below.
See if yours are the same as mine. but don't worry if they are not, this is not a test! If they are different, look again at the picture. If you still disagree, that's OK too.
1 Ignore the background bits, where do you see the darkest section?
2 Which appears to be the lightest section?
3 Excluding the very darkest sections, which is then dark but not the very darkest.
You have just separated your images into 3 tonal areas, if you stick to these when you then draw or paint your bowl, your painting will seem 'right' even if it IS a white bowl.
A1 The darkest section is in the very bottom of the inside of the bowl, closely followed by the inside of the rim on the far side of the bowl, and finally the tiny curve of the bowl where it sits on the paper.
A2 The lightest section is the behind the bowl and to the right, all round the bowl is lightest, but that tiny section on the right is slightly lighter.
Plus the tiny rim of light around the front part of the rim.
A3 The inside of the bow, the outside of the bowl that faces us and the shadow area on the paper.
So that was the bowl against the light.
Now lets move so we see the bowl from a different angle.
This becomes fun, because we now have some 'lost edges' as well as some reflections from the window, the light is still natural however, I have just moved round.
'Lost edges' are a wonderful gift for the painter, this is when the tonal value of one object, when placed next to another, or against a background appears to be the same, so the 'edge' technically disappears, but our brain fills in the missing bit for us. This is especially clear when objects are the same colour such as this white against white, but more tricky to observe in colour when the objects are different. For example a pale pink bowl placed on a pale green base.
We also have some 'reflected light' here. This is when light bounces from one surface onto another, another rather lovely way to describe this is 'kissed by light'
Here are some more questions for you.
1 Ignoring the background bits again, where do you see the darkest section?
2 Which appears to be the lightest section?
Excluding the very darkest and lightest sections, the remaining mid tone varies over the rest of the subject. There are many slight tonal variations, but I just want you to think in terms of three for now.
3 Can you see any lost edges?
4. Can you see any reflected light? (apart from the reflection)
A1 The darkest section is the inside of the rim on the left, then the inside of the bowl as well as the shadow area closest to the bowl on the paper.
A2 The lightest section is the tiny small section of bright light on the paper to the left underside of the bowl. After this is the reflection inside the bowl on the right.
A3 There is a 'lost edge' on the outer top left curve of the bowl and another on the opposite side which merges into the shadow area.
A4 Reflected light is bouncing off the paper and 'kissing' the under edge of the bowl, slightly to the right.
Have I exhausted you yet? and are you still reading?
Finally then, lets look for that elusive colour. Don't switch off now, you are nearly there.
It is easier to see the colours in the lower photo. We all describe colour differently, so I can only tell you what I see. Look at the picture and think about what colours you see, then read on.
Seeing colours demands a leap of faith, we know this is a white object on a white sheet of paper, so the tones should surely be grey?
I see the underlying colour as being a soft purple. A mauve if you like, not grey, there is definitively a purple hue to this.
The glow of light on the paper left of the bowl, is a pale yellow. This I would suggest as a buttery yellow, not a bright yellow. The reflection in the bowl, is not this colour.
Seeing these colours is what the Impressionists really exaggerated in their paintings, which is why for example 'Monet's' series of haystack paintings were so extraordinary, painting the same subject at different times of the day with the emphasis on the changing light. We can only imagine the overwhelming effect the Impressionists had when their work was first exhibited.
Once you begin to observe colour and its nuances, your painting will leap a level.
It is much better to make these observations in real life rather than from a photo, so I hope you will chose a white object and place it onto a white surface, if you don't have a bowl, perhaps use an egg, and just take the time to look, its definitely worth it. You may see more colours depending on the light which becomes rather exciting!
I know many of you, particularly those who live on their own may be finding the prospect of self isolation daunting, and as this pandemic escalates, more of us will be indoors.
It is particularly nice when you email me about a post which has inspired you, so I know there are some of you who would like to paint with me and although you may all be at different skill levels, I think I will devise some painting which we can all enjoy.
I walked around my 'local' arboretum this afternoon, in the drizzle, thinking that this could be the last time I get the chance to do so for a while, Maggie got soaked and kept pulling me towards the exit, and I finally gave way when the water began pouring off my hat brim as I bent forward.
Passing through the plant shop on my way out some anemones and cowslips caught my eye.
These are what I bought, I intend to inspire you to get those paints out and paint along with me over the coming days and probably weeks. We will do some small little warm up exercises as well as some complete paintings.
I'm also going to get you to really look at things (I know, that sounds odd) but I will include photos to help and I hope you will join me.
You may like to keep a painting/sketch journal over this time, or a portfolio of your work so you can see your progress. (this is a posh 'arty' term for a folder or carrier bag with your paintings in it)
So lets paint together.
Stay safe and thank you to Agnes in France who sent me 'safe kisses' what a nice thought :)
Fiona
Today we have some lovely sunshine (although its pretty cold) and the little lambs are outdoors basking in sunshine.
This morning on my walk with Maggie we passed some adorable lambs and as I am teaching a workshop in two weeks time I thought a little painting time in the sunshine would be perfect, so this is my watercolour doodle from this morning.
The paper is actually white but it seems to appear more blue in the photo.
I feel as if spring is just around the corner!
We had such a lovely day in Marlborough painting a winter scene.
Everyone had used acrylics before, but some in the group were very nervous about the day, and in the end, they needn't have been because their results were really good.
Our first project was an allotment in snow, we all had the same photographic reference and blank canvases. When I began by saying that we wouldn't be drawing any pencil outlines to begin with, I could almost feel the sense of dread in the room. Its a daunting prospect for many people, the idea of beginning to paint with no guide lines of any sort, but instead of finding this daunting, we turned it on its head and thought about it as freeing, no lines to stick to, everything is movable, adjustable, and any changes simply implemented.
This is my painting at the midway stage. (sorry I forgot to take pictures sooner, I just got carried away)
This is where I got to when we finished for lunch. I may add a little more in the foreground, but I do rather like the free loose result so far, so I wont add too much.
If I do, I will of course post the final painting.
The group followed my suggestions when we painted together, however, I did say that after lunch they could use their own artistic twist on the day and do what ever they wanted.
I do think its important that participants on my workshops use what ever techniques of mine they chose to, but also have the freedom to add their own.
These were the results of their allotment paintings. They were all quite different and had lots of mood and atmosphere.
The group were so delighted with their second paintings that I am sure they wont mind my showing you. These were the ones they did using the second photo.
Thank you to all of you that joined me for this very enjoyable day, and I know some of you have already booked on the next workshop, so I'll see you then!
I walk past this open barn so often and have always been attracted to the light shining between the wooden planks and the pattern it creates. I am also attracted by the little cart which has been there as long as I have been walking here.
I have stopped so many times to look at it, thinking I would paint it one day. At this time of year it is clear to see, but once the leaves begin to appear on the trees, this view gradually becomes more obscured, so as each year has passed my opportunity slipped by, but not this year.
We have had so much rain this year that when the sun does come out, I feel a flurry of excitement and the need to enjoy it, appreciate it and use it. Washing can blow on the line, blankets can be aired, and the light is perfect for painting.
Maggie used to get a little confused when I gathered up her various bedding and hooked it onto chairs or shrubs in the garden to get a good airing. There would always be one mat left on the ground in the sun for her to lie on, she sun bakes, even in February.
I rushed to take advantage of the sunshine and this is my finished painting, (10 x 12 inches) it's an unusual subject for me, but it turned out as I had hoped and I now have my eye on some tractors....
I began by sketching my composition using a dilute dark. Adding lots of water to acrylic at this stage, to dilute it for the sketch, means it can easily be adjusted, wiped off if need be.
I paint at an easel standing a couple of feet away from the board and use a long handled brush. This ensures that I look more at the subject and am more discerning about where to place my initial marks.
This scene has very subtle colours, there are no real brights, but I do see blues and ochres, so I block those in. Already after a very short time, my basic composition is there.
Once at this stage, its all about building up the painting.
If I am outside and have limited time, or the weather changes, the painting will be less detailed and often, I feel, more interesting that one painted entirely in the studio.
The challenge when working indoors and using photos exclusively (as opposed to beginning a painting outside and adding details later in the studio) is that there is a tendency to look for the tiny details within a picture before the basics are there.
I like my subject to emerge from the canvas. This is my personal way of working, I know its not everyones, so if it doesn't work for you, then perhaps its not right for you.
Thats one of the fascinating things about painting, its more about the way we see things, rather than the way we put the paint on the canvas.
I realise you are probably now thinking 'there is no such thing as Easter mice' and you would be correct, however, this year, in my house.... there will be!
With Easter just around the corner, I decided to make some little family gifts, using scraps of fabric, some stuffing and whatever I could find in my 'bits and bobs' box. I do love fabrics, and tend to keep pieces from clothing and all the off-cuts from various projects over the years.
Sitting in the studio, with the scent of daffodils and being surrounded with beautiful colours inspired these little mice.
Do you remember learning 'blanket stitch' at school? I think other than basic 'running stitch' and 'cross stitch' its the first fancy stitch you learn, often on pastel coloured binca fabric ( I think that's what it was called) traditionally used to edge blankets, blanket stitch is perfect for attaching pieces of felt together or any felt like non fraying fabric.
French knots for the eyes, another easy little stitch, and some hours later....
These little mice stand 5" tall, they are weighted at the bottom ( I know, that does sound rather clever) but I used some 'out of date' split peas which have been lurking in the back of a kitchen cupboard with a 'use by' date of 2017 on them. (never let it be said that I waste anything)
I used to enjoy making lentil and split pea soup, using stock from a ham joint, but sadly, those days are no more, so the split peas have been put to good use.
This is probably a better view of them. They are very easy to make, and I think they will be loved when they 'appear' in their new home at Easter. I may even make a couple more before then, I have my eye on some patterned fabric which I am itching to use.
I might have them as the 'treasure' at the end of a hunt.
