The comment was made, quite fairly, that I didn’t include the original painting, before it was reduced.
This is it. As I said, I felt the eye ran off the page to the right, and was possibly rather boring anyway. By removing the right hand side, I effectively made more of a central group with the figures and the distant headland.
I found the breakers rather strange here, as they rolled in, roughly the same size each time, so rather monotonous, really
Please feel free to comment, should you want to. Your opinions are important to me
Sometimes a painting creates no interest whatsoever, even though I might have been pleased with it at the time. Occasionally, and only when I think appropriate, I remove a section of the painting, which perhaps detracts from the overall composition, and reduce the image to a smaller painting. Hopefully an improvement.
So it was with this picture, Sea Gazers in Nice. We were in Nice for New Year, a few years ago. The weather was mild compared with the rest of Europe, which was deep-frozen. We walked along the famous Promenade des Anglais, and watched the sea and watched people watching the sea. This couple were alone with their thoughts and almost mesmerised by the breakers rolling in.
They kindly kept motionless, unaware of me sketching them and taking photographs. Not often that sitters are so obliging. I did the painting some years later, but then I included a long expanse of sea and breakers to the right of the couple. It was a mistake, looking back, as the eye of the viewer went right off the page.
I showed the painting a few times, but it impressed no-one. I prefer this version, so will see if others do
I have used this method only a few times. Occasionally only a central detail from a larger painting, seems to work. The last time I rescued a painting in that way, was to cut a small scene about the size of a postcard, and this worked on its own. The rest wasn’t worth keeping. The reduced painting, of the London Embankment, with a small section of London Eye, I sold, so that was worth doing.
The painting is completed. I can see plenty wrong with it, but I still like it and it was interesting to do. You may remember that I started with quite a lot of masking fluid, in fact I painted with masking fluid. The only problem with that, is that you can’t tell what you have done, until you remove the masking, and that is further on in the process. By then, it is too late.
However, despite mistakes which I regret, I think I have covered my tracks sufficiently for the painting to be acceptable. Others will, of course, make the judgement for me
The cygnets, I like, and these were done in a mix of transparent brown and ultramarine violet. Undiluted brushfuls of the same pigment put in the darks in the reeds, where the bank joined the water. The original is more dramatic than the photograph, which always happens despite all my efforts.
I put some white body paint into the water to strengthen the reflections, otherwise the highlights on the birds is from the white paper.
This one will go forward for my next exhibition which is at the Guildford Institute in April, and now I must think of painting something else.
I have used successive coats of darker and darker green amongst the reeds and grasses of the river bank. Towards the end I was mixing the green with a dark blue still trying to get that feeling of deep shadow amongst the reeds
I have now removed all the masking fluid, which took me a little while as there was a lot of it. Also I had to go carefully in case I tore the paper. I am happy to say that I didn’t , which was good because often when masking is left on for a while, it can prove difficult to remove.
The result is still a mess, but as I always say, finish the painting
The swans need tidying and finishing in detail. The painting is about them after all
Likewise the reeds where I have gone back to the white paper, need finishing in a light but realistic colour, raw sienna probably or a pale green
If I cannot get sufficient definition using just watercolour, then I could use some gouache or even pastel if absolutely necessary
The Basingstoke Canal runs through our village, and originally ran as a branch from the Wey Navigation, and ended up in the town of Basingstoke in Hampshire. It was cut in the late c18 by navvies or navigators who dug canals by pick and shovel in those days.
The intention was to link London with Southampton by inland waterway, which would prove a vital link in war time. The advent of the railway stopped the canal in its tracks, and it lapsed into disuse
Rescued by enthusiasts comparatively recently, the canal is in use by leisure craft, not going as far as Basingstoke due to a tunnel cave-in the 1930s but nevertheless, still offering a valuable resource to the area.
Needless to say, the canal offers a haven for wildlife. Generally we have a family of swans near the village most years, and I have painted them in the past. The photograph above is one of many that I have taken, and I am going to work with that.
The swans are feeding off the reeds in the bank. Reeds are more tricky to paint in watercolour than swans in my opinion. So many shades of green. So I am going to try something different for me and use masking fluid almost like paint. This came to me from the last exercise with the glass jars. This is as far as I have got
Not too easy to see what I ‘ve done I know but basically I have done a pencil sketch of the swans, and then masked them off with the Frisk liquid which is blue and easier to see than the natural. I have also done a few strokes for grasses and highlights in the water. When that was bone dry, I put a very wet solution of green into raw sienna around the birds
The green went bone dry overnight and today, still painting with masking liquid, I have brushed in many more reeds and grasses. Hopefully after I have put darker green over the top of these, and that dries, then removing the mask will reveal light green reeds against the dark or so I hope. All this because you can’t go from dark to light with watercolour. I may still have to do a rescue job with body paint but I hope not
That is the theory. I hope it works. You shouldn’t really leave masking fluid on for too long for fear of tearing the paper when you remove, so this is risky but different.
As the title says, this is really as far as I can go with this painting, which was only supposed to be a learning exercise, and I have learned from it. There was no question of producing a finished piece of work, unless by happy accident.
I have sharpened up some of the detail and also removed the mask since the last post. The highlights were a bit blobby and needed tidying up, and I am far from happy with them even now. The mask needs to be applied with a pen for this sort of subject, which I didn’t have with me at the time. The metal cap on the lamp on the right is meant to be copper. I could not remember how to portray copper in watercolour, but found a website that told me, burnt sienna and a little raw umber. An example of a painting was shown which was beautiful. Hmm, I need to practice this, as the result is far too ginger for my liking
I prefer of the three, the glass cylinder on the left. Not sure whether it is a candle holder or a piece of laboratory equipment. A group of glass items from a laboratory would make a very interesting composition for a still life painting.
The real lesson that I have learned is not to attempt this sort of painting without the proper references, either the items themselves or an accurate photograph. Going from an old painting, and trying to remember where the highlights were, really dooms you from the beginning
I will return to my comfort zone next with a subject I am more used to, but useful to do something like this from time to time,(not to mention humbling)
Not by a long way. On this occasion I am the student, and am preparing to follow a demo on Thursday at our local art club. We have been told to prepare in sketch form, a group of objects, and if we wanted to, put in some basic colour. The demonstration is to show how to provide an effective background wet-in-wet, which will one hopes transform this rather ordinary little group of objects into a painting
One of the many advantages of belonging to an art club, is that it gives you the opportunity to experiment with something totally different. Normally I paint town or seascape, so with this I shall be out of my comfort zone as it is called
More after Thursday
Still a lot more to do
We had the demonstration yesterday which really centred around negative painting. The spaces around the glass bottles were made wet, but only a manageable space at a time. Pigment was dropped in and allowed to spread, which gave quite a pleasing effect. Of course, as my subjects were glass, I had to allow the shadows to be visible through the bottles. My problem was that I didn’t have actual bottles to refer to, only a sketch from twenty years ago. I went darker than anyone else, looking for something dramatic, presumably.
The edges are finely masked with Frith masking fluid.
This exercise is by no means finished. Some more shadows need to go in around the base of the jars. The top of the lamp on the right is copper so some red needs to go on which will alleviate the green, and of course the masking needs to come off
I think I will try and finish it, although I don’t have to. it is one of those exercises where learning the method is the aim, not to produce a finished piece of work
Some more interesting topics to come from the art club, including painting with acrylic inks which I haven’t done for many years, so something to look forward to.
Just occasionally, and by way of a change, I quite like to paint a vignette of something, something small which lends itself to that style of finished painting. It is more immediate, rather like making a sketch, and it can look like that, but if successful, can work as a framed painting too.
They are quick which is what I like about them. I draw direct onto the watercolour paper which saves me so much work in the planning stage. Invariably the subject matter doesn’t need too much drawing, like these windmills, although having said that the sails were tricky
The painting itself didn’t involve wetting the paper, as there was very little sky or any other underpainting involved. Mostly the work was small brush detail, and put sky and water in afterwards. I am not going to pretend this result is brilliant but the image is charming and usable either as a reference for a larger work, or framed in itself as a finished piece.
They can too, be framed without mounting because of the white surround. Not sure whether I would do that but I have seen that done
I am still drawing paintings together for updating my website davidharmerwatercolour.co.uk which should be done soon. There are some vignettes on that, some sold and some still available.
Also pulling paintings together for my next solo show in April which is being held at the Guildford Institute.
This time I used the camera on my phone. I think I prefer the result. The colours seem more faithfully represented, or so I think
I have stopped working on this painting as I just don’t feel I can add any more. The ferry boat in the centre I have painted as sharply as I can, but as always when the paint has dried then some of the intensity goes with it. Sometimes that can be a good thing but on this occasion I would have liked the boat to be coming towards the viewer just a little more. I even finished off the waterline with dark pastel which has helped
Possibly I put too much definition into the background, but then I needed deep shadow to accentuate bright daylight. As always a slight dilemma. Maybe next time I will paint the foreground first and work backwards.
However I have another painting towards the next exhibition in April, and will soon have to think about my annual update of my own website davidharmerwatercolour.co.uk. Looking back over the year, a number of sales, certainly a quantity of amendments together with a collection of new work which always attracts attention.
Last year was very good for commissions, six in total, which for some artists I know would be unimpressive, but for me exceptional. We’ll see what 2019 brings!
This is very much work in progress. I have got as far as putting in the shadows with a mix of Cobalt and Phthalo Blue, the mix I like using in any scene that is southern European or nearby
I have done the sky in the same, and the sea also but over an orange wash which gives it a greenish hue, and as always I hope this works. I have put some more orange here and there into some of the buildings as highlights as the shoreline was getting monotonous. There will be some more shadows yet going in to the buildings and also the boats that are still tied up
The boat mid channel I hope to do in much more detail, as much as my shaky hand will allow, and I want to introduce some red into this boat to bring it forward from the shore. That is the theory anyway.
Annoyingly the camera has picked up the texture of the paper so that it looks as though I am painting on onion skin. I seem to get a better result with the camera on my phone these days so might use that for the finished image.
Since this photograph was taken I have done some more work on the painting. Nothing startling, just deepening the shadows, and deepening the sea colour in the foreground. The shoreline is starting to take on a cubist look, unintentionally but interesting nonetheless.