Saturday, 6 May 2017

Maybe



Using new colour combinations for favourite subjects is a way of creating something new and original even if you are using the same reference over and over.
Maybe
Unframed size 43cm x 32cm
In week 4 of my current class the subject was painting black and white and for the white I gave everyone the same reference photo of a goose. I have painted this as a demo twice before back in 2016 but this time as I was about to start my demo one of my students ask that I use the two interesting colours she spotted on my palette and my thoughts were "maybe" this might work.
Cascade Green and Quinacridone Lilac both by Daniel Smith
I tested the new shade Quinacridone Lilac in a recent blog post here and really liked the colour. It is PR122 which is also sold by Winsor Newton as Quinacridone Magenta.
Together these two shades produce a beautiful soft neutral and I enjoyed creating an original work of my goose and know that I will enjoy using this combination again.



 Same Subject Painted in 2016

Take a Gander

Take Another Gander

Thursday, 27 April 2017

Too Fast

I am so surprised to see that I have not written on my blog since early March. You may think I am not painting or away on holidays but no here I am with so much arty things happening and the time going by all too fast. 
I have had a whirlwind exhibition program since January, am now a month into giving my second watercolour foundation course this year and still wanting to paint every day. With a little mini break away followed by Easter celebrations with family I now have my studio routine back on track.

Black and White in Watercolour:
Yesterday for week 4 for my class the subject was how to paint black and white. I painted my demo with just three colours - Permanent Rose, Burnt Sienna and French Ultra Marine Blue. This little Boston Terrier appeared in less than 40 minutes, seemed too fast, but no fuss just lovely colour fusions happening before our eyes. 
The most asked question in my classes is what should I do with the background. I normally advise that it be considered as a whole with the subject rather than a scary afterthought but here I was in that scenario as this was only meant to demo the subject colour but after falling in love with this little guy I wanted him to be a finished work.  I left it on my easel overnight loving its simplicity but knowing I wanted something for the background but puzzled what it might be. 
This morning I added the simple shapes and the puzzle was complete.

Puzzled
42cm x 32cm

I have changed the cover picture on my blog to my "Lest We Forget" in celebration of it being awarded a merit for a contemporary work by the judges in the Flagstaff Hill Rotary Art Show on Saturday.  Another of my entries - a large abstract "Key to Winning" was purchased by the Onkaparinga Council for its own collection so I have certainly been on a high this week.
 

Thursday, 9 March 2017

Testing the new Daniel Smith Colours




There has been much hype around the new Daniel Smith colours released last month and I resisted adding more tubes to my huge collection but I succumbed to the pressure of having to be sure I'm not missing out on something spectacular.
They arrived a few days ago but sat on my desk until today when I put them to the test.

Colours: 
Paynes Blue Gray PB60, PBk6
Aussie Red Gold PY83, PR101, PV19
Raw Sienna Light PY42
Burnt Sienna Light PR101, PO48
Quinacridone Lilac PR122
Wisteria PW6, PR122
Rose Madder Permanent PR209, PV19, PR202

I use good watercolour paper for my test strips so that when I use a pigment in a work it should react the same as in my testing.


Each strip has 10 rectangles.
Values:
7 are used for a value scale so I can see the colour in its full strength, grading right down to the lightest value being just the white of the paper.
Transparency:
I add a waterproof black texture line on rectangle 8 so I can test in a heavy consistency how transparent the pigment is
Staining:
Dry paint is lifted with a damp brush in rectangle 9 telling me how staining the pigment is
Texture:
I use the last rectangle to add salt to the damp paint to see what effects it will make.





Conclusion for me:
1. I often find I have the same pigment under a different name by another manufacturer but this   doesn't mean they behave the same when water is added. This time just two had the same pigment numbers as ones I already own.
** Aussie Red Gold PY83,PR101,PV19 same as Australian Red Gold by Art Spectrum
** Quinacridone Lilac PR122 same as Quinacridone Magenta by Winsor & Newton

2. I like how dark the Payne's Blue Gray is when almost straight out of the tube

3. The Burnt Sienna light didn't seem any different to the regular Burnt Sienna I use

4. The Wisteria was thought chalky in consistency seems quite transparent and is  the same pigment as the Quin Lilac but with titanium white added

5. The most appealing colours meaning I will probably use them and not put them in the big box of wait my turn are the Wisteria, Rose Madder Permanent and the Quinacridone Lilac.





Sunday, 26 February 2017

Finding Your Way

There is always so many decisions to make before starting a painting and as we all experience when we actually start out some ideas may have to be abandon as the watercolour makes some decisions of its own and its best not to resist but work with it.
This painting started out for me as a way of demonstrating to my class last week how I might use negative painting in the background but after an hour of painting it was left 90% unfinished. Some days later I started on it again making more of those considered decisions as to how to paint basically black and white birds and have them tell a story. I used a very limited palette of French Ultra Marine Blue, Permanent Rose and Burnt Sienna which gave me interesting blacks. Using just these colours in the background enabled the Willy Wagtails to be the stars but kept the whole painting in harmony.  It required more thought as to how I might bring the two birds more together so the decision to add the darker panels was made. Weaving the branches in and out helped with the design. The negative space was enhanced with some old script stamping which helped me find my way to tell the paintings story

You Kept My Letters
56cm x 30cm unframed size