Watercolour Plans and Explorations

This week has been one of watercolour plans and some explorations.

Watercolour plan 1 : Open Studios

Watercolour plan 1: The start of the week brought paperwork for Open Studios – and the requirement to make some commitments to painting fresh work and exhibiting. I’ve decided to do both Saffron Walden Open studios at the end of April and beginning of May, and Cambridge Open Studios in July. More on these closer to the time.

Watercolour plan 2 :  Artfinder

Watercolour plan 2: I took a decision to do a blitz sale on Artfinder to make space for new works in preparation for these exhibitions. This has proved quite successful so far and 5 paintings went over the past few days. It’s often quite difficult to see a painting go – we become attached to them somehow. But I’m excited about developing new lines of work this year and this will spur me on to get my brushes going.

Watercolour Exploration 1: Wash a Week Challenge

This week’s post explores Daniel Smith’s Lunar Blue. Here’s a little abstract treescape painting I did using only this colour. This will go up on the Running With Brushes site when I have time to post it there. (Life is overtaking me a bit at the moment.)

Watercolour exploration - wash a week entry
Wash a week – Week 4 – Lunar Blue

Following Last weeks Wash a Week post on Quinacridone Gold and Quinacridone Violet, I was asked how similar the gold is to Indian Yellow. I happen to have a tube of Indian Yellow I hadn’t yet tried. Perfect excuse to have a go so here’s the little colour swatch I did to see the difference. Separately, they do look quite similar because they are both strong colours. Put them together and you can see the difference.
Watercolour week yellow and gold comparison

Watercolour Exploration 2: Abstracts

On Friday evening I went to the monthly meeting of the Saffron Walden Art Society to see a demonstration of Abstract painting by local artist Joyce Crabb. I’m increasingly interested in Abstract art, and I think probably lean towards semi-abstract myself in some of my looser work. I’m not sure I’ll get comfortable with pure abstract work – at least not for some while, if ever. But I will be experimenting a bit more on the fringes I suspect.

Watercolour Plans 3: Tidying up the studio

I’m a book junkie (and a colour junkie as I’ve said before). I have a fair collection of art books and magazines in my studio. When I set up the space for my painting I insisted on having a corner with a sofa and table, as well as a bookshelf, so that I could sit quietly and enjoy dipping into this exciting reference material and inspiration.

Watercolour plan - tidy the studio

 

A year or so ago, I did a workshop in oil painting with Stephen Higton and decided to start doing a bit of work in other mediums, so I bought a large easel, amongst other things. Its fabulous to have it, but in a small studio, it was always a bit in the way. No matter which way I positioned it, the bookshelf was obscured and it became a mission to reach it.  Result: books not read, or books and magazines stacked all over the sofa and any other free surface so I could get to them.

This weekend I had a brainwave about repositioning things and got stuck in to moving furniture before I got started on painting. The result:

Watercolour plan - after the tidy
Space to read!

Quinacridone watercolours

My Daniels Smith quinacridone watercolours came out to play this weekend. Last weekend I explored the differences and synergies between Quinacridone Gold and Quinacridone Deep Gold. You can see my findings in the Wash a Week challenge.
Quinacridone Watercolours - Gold, Deep Gold and Violet

The nectarines on the kitchen table seemed an ideal subject for the colours I was working with for the blog. Once opened, the smooth, juicy, translucent flesh contrasted temptingly with the many folds and hard edges of the stone in the centre.

Quinacridone Watercolours blending on the paper

The perennial challenge for watercolourists is resisting the urge to be too fussy. There’s always the temptation to add one more brushstroke, embellish with a bit more detail, change an edge or a shape.

In this painting, I aimed to avoid this challenge by completing the whole painting with one flat brush. Painting a rounded shape with smooth edges using a flat brush makes it very difficult – almost impossible to get too detailed.

Using quick, energetic brushstrokes, my aim was to simply capture the essence of the fruit. My focus was specifically on the smooth quality of the flesh, and the area of rosy colouring where the hard stone emerges from the body of the fruit.

The combination of the transparent, single pigment quinacridone watercolours, and resisting the urge to fiddle with the paint once it’s been laid down on the paper, leaves the colours clear and translucent in the painting.

I’ll be sharing more quinacridone colours in future Wash a Week posts.

In other news, I’m starting the planning process for my 2015 exhibitions and Open Studios. There are a few visits to London exhibitions and a watercolour festival for inspiration. And I’ll be creating the opportunity for UK watercolour artists to attend workshops with two exceptional artists from Moldova and France. More news on these later.

Olivia Quintin Workshop Opportunity

Next August, UK artists will have the opportunity of joining an Olivia Quintin workshop.

Olivia Quintin Flowers 3

Sometimes a chance blog post read leads on to a long term friendship and some wonderful adventures. Towards the end of 2010 I read a blog post about the 100 Wash Challenge which was just starting.  I was fortunate enough to be accepted as one of the seven artists who took part in that challenge in 2011.

This is where I met Olivia.  The 100 Wash Challenge was a fantastic experience in many way. It was the perfect example of getting out what we all put in. The artists who were lucky enough to take part all put in the time to share their experiences 100 times each during that year. In return, we learned a huge amount about watercolours, and we became online friends.

Eight months after the challenge ended I travelled to Vannes to meet Olivia.  A year later, in September 2013, we spent another long weekend together. This time, Olivia came to Cambridge. Since the 100 Wash Challenge ended, Olivia’s reputation as one of France’s top watercolourists has led to her acceptance at the Bienniale at Brioude in 2013. After her popular exhibition and workshop there, she has now been accepted as one of the featured artists for the 2015 Brioude Bienniale. Olivia blogs at http://atelierpetitemer.blogspot.co.uk/ and has an official website where her works are displayed. She is a member of the Société Française de l’Aquarelle .

During a fabulous painting week on Belle Île last September, we developed a plan for Olivia to teach a workshop in the UK.  Today we announce the details:

Olivia Quintin watercolours

Long Shadows Watercolour – Evening Light

Long Shadows watercolour
Long Shadows (watercolour 21 x 25 cm)

The Long Shadows watercolour is another one of my small paintings. You’ll be seeing a few of those on my blog in the next week or so. But that’s mainly because I’ve been neglecting them for some months.

The overall goal of painting 1000 small watercolours as part of the Running With Brushes project had a great start – we reached 360 paintings in the first year. This has only been possible with the help of all the wonderful Running With Brushes artists.

However, in the lead up to taking part in Cambridge Open Studios, my painting time was dedicated to creating more works for the exhibition. Now, after two weeks of breathing space, I’ve started on small works again. I’ve got a few bigger ones on the easel as well, but I’m enjoying doing some quicker pieces in the meantime.

Long shadows watercolour

All my life, I’ve loved trees. As a child I was constantly climbing them, invariably going as high as I could get. There’s a majesty and a timelessness about large trees. Very old trees have a particular charm (and I may be painting some of those in the near future too). I’ve now got a collection of tree photographs to inspire me.

Most summers we spend some time travelling in Europe. More often than not,  we go to France for a few short breaks each year. Recently we’ve been to Italy as well.. In both countries, I’ve noticed the structure and order of particular tree  formations. I’ve been drawn to the long lines of Cyprus trees, standing tall across the countryside. They look like sentinels standing to attention along roads and long driveways.

In this Long Shadows watercolour, early evening light forms long elegant reflections of the line of tall trees. And at the same time, the long shadows spread across the land offset the soft golden glow on the fields.

 

Tuscan Doors With Character

Tuscan Doors (watercolour 15 x 21 cm)
Tuscan Doors (watercolour 15 x 21 cm)

I’ve been working through photographs of a range of Tuscan doors. They were taken one afternoon on our holiday in that part of the world last month. (These Tuscan Doors are from the Running With Brushes website)

We went off on an excursion to see the hilltop towns of central Italy, many of which have a link to the work of the artist Piero Della Francesca who famously painted the pregnant madonna.

Starting in Umbria and meandering over into Tuscanny, the drive is beautiful. It invites a slow ramble up and down some winding roads which traverse the hills and valleys between Medieval towns with magnificent walls.

For me, the most interesting aspects of these towns are the old bits. The narrow roads within the old city walls. That’s where all the character-filled bits of buildings can be found. And somehow, the Tuscan doors seem to be a great feature of the buildings. I’ve seen similarly interesting doors in other parts of Southern Europe, but this part of the world seemed to strike me as having a deliciously wide variety from which to choose.

Our Tuscan Doors route
(or the official version – the Piero Della Francesca Route)

One of the reasons for this route is that Piero Della Francesca, unlike many of the best known painters of the time, does not have his works in many of the major museums.  Instead, he chose to stay close to his roots and his works have remained in the part of Italy that he loved.

– Start in Sansepolcro  has a beautiful walled centre. Park just outside the walls and amble along to the Museo Civico to see The Resurrection
– Monterchi is where the pregnant Madonna can be seen. I didn’t think much of the museum dedicated to this painting. The staff were lackadaisical and not particularly interested in visitors, and the museum is small – leaving the visitor thinking, “Is that it?”  However, as part of the drive, this is a glorious part of the route.
– We missed seeing Rimini and Arezzo where I believe there are some spectacular works, but that was because we stopped for lunch in glorious:
Anghiari. I was utterly charmed by this town. We visited the little Da Alighiero restaurant for a lunch which ultimately lasted almost 3 hours. Husband and wife team Gianni and Sylvia pull of that perfect combination of fantastic food and great hospitality. On the way back up the hill, we took photographs of the town’s Tuscan doors. Every one seemed to entice us to stay a little longer and explore this wonderful town.

Restaurant interior sketch
Da Alighiero – bottles and old trunks sketched while waiting for lunch

Whether you’re interested in Piero Della Francesca, medieval towns, great old architectural features, or just plain fantastic places to do long lunches, this route through Tuscanny is hard to beat.

Lest We Forget – Commemorating the start of WW1

Today’s post should have been written yesterday, the day when we were all saying, “Lest We Forget”.  But it didn’t happen because I was down at the Tower of London.

Yesterday was a poignant day for many people. Commemorating the start of WW1 one hundred years ago is a significant occasion for those who value human life. It’s slightly depressing that we (the human race) haven’t learned to do this peace thing a lot better by now.

I decided to do something positive to mark the day. I haven’t had time to work on my Running With Brushes contributions for some time, so over the weekend I painted a few.

RWB0104 Fields of Green
Fields of Green (Watercolour 21 x 15 cm)

This one, Fields of Green, is particularly appropriate. It reminds me of the reason for the sacrifice made by all those men and women so many years ago. The right to live in peace in a country of our choice seems such a simple thing. And yet, without those soldiers who fought for it, we would not have it.

For those few of my readers who might not know about Running With Brushes, this is a project to paint 1000 small watercolours, and sell them to raise funds for Care for Casualties. Care For Casualties supports the families of members of Rifles Regiment who have been killed or wounded in Iraq and Afghanistan. To date, over 350 paintings have been created, 162 paintings have been sold, and as a result, almost £3200 has been received by the charity.

Tower of London 4th August 2014. Lest We forget
Tower of London 4th August 2014. Lest We forget

Tower of London: Lest We Forget

We also took a trip down to The Tower of London to have a look at this powerful and poignant art installation.

The Blood Swept Lands And Seas of Red exhibition, by

Artist Paul Cummins created Blood Swept Lands and Seas of Red to represent the lives of every British and Colonial death during the conflict.  The poppies will be planted continuously until 11th November when there will be 888,246 of them in the moat around the Tower.

The poppies can be purchased by members of the public to raise funds for 5 military charities. I’ve just ordered mine.

I’ve been playing with creating video clips with my phone. This one is slightly wobbly but gives a slightly better idea of the scope of the poppy field in the moat at The Tower.

Medieval Village Sketch from Umbria

This little medieval village sketch was started while I was on holiday in Umbria.  Standing at the window of our room, this was the view down the valley. I made a quick pen sketch before we left.

It always seemed really quiet and almost uninhabited, and we wondered what went on in Borgo di Santa Giuliana. It seems, although the village has been restored, it only has one resident at present. What a great pity to have such a beautiful place and no-one to enjoy it. Sadly, it does seem to reflect a lot of what is happening in Italy at the moment. The economy is still struggling and if you look around, you can see the signs.

Having done only a pen sketch on site, I thought it would come to life more if I used a bit of colour. So this weekend, I used a few water soluble graphite pencils on the medieval village sketch.

Medieval village sketch
Borgo di Santa Giuliana – Sketch with water soluble graphite activated

Just for interest, here’s the sketch before the graphite pencil was activated. Although the colours aren’t particularly vibrant, I do like these pencils.

Medieval village sketch
Borgo di Santa Giuliana – Sketch with water soluble graphite

Borgo di Santa Giuliana – Medieval Village Sketch

Here’s an English translation (although perhaps not a perfect one) of the text found on the website link to Borgo di Santa Giuliana:

The first news about the ancient village of Santa Giuliana back to the year 1362. In 1411, Captain Paolo Orsini, an ally of Braccio da Montone Fortinbras, attacked the castle in the north of Perugia, and Santa Giuliana was besieged. The reaction of the inhabitants, however, was so resolute and effective that the attackers had to leave.  The commander, Orsini, was seriously injured. After many years of neglect, the whole complex has been completely restored, respecting the original structure. It is a beautiful example of a small medieval village. Inside the castle is a little church, built in 1558, dedicated to St. Anthony.  At about 1 km you will find a tower, an ancient outpost of defence, and the church dedicated to Santa Giuliana.

I’ve been doing some planning for a few more complete paintings of this village. More to come. I’ll try not to bore you with too many of them.

Society of East Anglian Watercolourists

East Anglian Watercolourists

The art event in my August calendar is the summer exhibition of the Society of East Anglian Watercolourists.

It’s been a while since I’ve been in blogging mode.  July was a busy month with more than a few highlights:

We went off to Umbria for the annual Jazz Festival in Perugia. My head is filled with images of musicians, great buildings, and fantastic unspoiled scenery. There’s loads of painting subject material in that part of the world. Once I’ve sorted through my photos, I’ll have enough for a series. I’ve not managed to get back into the studio since I got back, but I will be picking up my brushes again soon.

I took part in Cambridge Open Studios for the first time this year. Our home was open to visitors on the first and last weekends of the month. Over the course of these two weekends I had 83 visitors, most of whom hadn’t seen my work before. I’ve taken part in Saffron Walden Open Studios for the past two years, which was a good way to get into the Open Studios groove. Being located half way between Saffron Walden and Cambridge presents some challenges for visitors at either of these events: we are in the outer regions from either direction.

The Society of East Anglian Watercolourists Summer Exhibition

This is the next event I’ll be taking part in. I’ll have six paintings on show at this event next week. Unfortunately, I’m not likely to be able to attend the preview evening, as I’m due to have a little operation two days beforehand.  Marc is (yet again) being wonderfully supportive and will deliver my paintings for me so that I can take part.

If you’re in the area and would like to attend the preview of this event, please let me know. The standard of work from these East Anglian Watercolourists is extremely high and it’s always a good exhibition.

 

 

Fred Ted and the military medals

Fred Ted's military medals
Fred Ted (watercolour)

Hayley Oats sent me a photo of Fred Ted and her grandfather’s military medals as part of the Everyday Treasures series.

Here’s Hayley’s story about Fred Ted and the Military Medals:

When I was asked by Vandy to provide something that should could paint that meant a lot to me, think what you would save in a fire,  was the description. Well I had a tough time.  I am the family historian for want of a better description, (although I think most of the family would say hoarder!)  as well as a wedding photographer…… so anyway after my initial reaction of photos and family history I sat and thought about it more.

Here’s my precious item.

Fred the big teddy bear is very special to me, he was given to me the day I was born by my grandfather, affectionately known as Big Poppa.  He was always the one who sat quietly in the corner of the kitchen whilst my grandma cooked and had a house full of people. The place was never empty, people popping in and out. If he wasn’t in the kitchen chair he was in his workshop with a car in bits to be mended or turning wood and making beautiful wooden, bowls, vases, fruit the list goes on. He was very creative. As a child I don’t remember him talking much, although I am assured he did, he was always there, just quietly observing. It was only when my grandma sadly passed away that I really started to have conversations with him and it was not long after that I got a job working with the Royal Engineers (Explosive Ordnance Regiment) that we started to learn about his time in the Second World War.

He started out in the Royal Artillery but was at some point yet to be defined, was recruited into the Special Operations Executive (SOE), the precursor to the SAS, for his explosives experience.  Up until this point we don’t think he had talked to anyone about his WWII experiences, and he was always a little guarded about the level of detail he would give, he said, “ I signed the official Secrets Act and some things should stay that way”  What we do know is that he was involved in Dieppe Raid of 1942 which was such a disaster, but that he made it into France to complete his mission, where the rest of his team were killed. He was also seriously injured: both his ankles were broken.  He told me he remembers leaning over a 5 bar gate, and then being carried on someone’s shoulders, but not really much else.  It appears he was found and carried back to safety by two , to this day unknown, Canadian soldiers. He recuperated in a military hospital in Kent.

We have many little anecdotes like this one:  After one SOE mission he asked the medical officer how he could relax and he said he should get blind drunk and everything would be fine!

After his time in Dieppe he was taken off active overseas service and became a military lorry driver in the UK.  Once the war was over he was discharged and had a successful career back at home in Yorkshire working for British Coal. In later years he was given a military pension because his hearing had been so damaged by his time in the Royal Artillery.

We hadn’t really heard any of these stories until I started my job with the Royal Engineers. Sadly, he died a short while after I started working there and so it makes those precious moments extra special. The military medals are his, they don’t look like many for a man whose service was so varied, (this is just a short highlight) but medals weren’t awarded to those in the SOE, as it was Clandestine operations they couldn’t give medals for things that didn’t ‘technically’ happen.

So Fred and the military medals, remind me of how precious it is to spend time with my family talking about our adventures so the stories can live on.  Fred and the medals, and this fabulous painting will one day pass to my nephew so he can carry on knowing the stories.

My Secret Project: a Sneak Preview

I’ve been working on a secret project for a little while. It’s still a secret so I’m not going to tell you everything about it yet. But I just couldn’t wait to share the paintings I’ve been doing for it – so here’s a little sneak preview.

Secret Narnia Project - Abstract version
Abstract version

As usual, my method has been to think about the project for some months. While I do that, vague images start to crystalise in my mind. These are the first two sketches for the project. I think there will be more. In fact I’m sure there will be more paintings before my secret project is done – I have a few images in my head already.

One red tree
Secret Narnia Project – One Red Tree

There have been a few criteria to this project.

In the first place, it has to be predominantly, if not exclusively, deep red and grey/silver. Black might be an option as an extra colour or an alternative within the design.

The paintings need to have a feel of winter, but not be literal. This is an exercise in abstraction within a theme.

It has to appeal to a special person in my family. At the moment, the initial deliberations are in progress and some decisions will be forthcoming soon.

Next steps in my Secret Project:

– More paintings

– Finding a supplier who will screen print a small run of fabric

– You’ll have to wait to find out the rest….

I know which of these two I prefer – I’d love to hear what you think.