Birch trees in watercolour and coloured pencil: demo for class



Watercolour and coloured pencil, approx 7.5 x 9.5 ins

This one was done yesterday as a class demo.   Last week we'd looked at how various artists handled trees and undergrowth.   This week we looked at the sketchbooks of John Blockley, David Hockney, Kurt Jackson and David Prentice, also the line and wash work that Sue Lewington does.

Then they wanted a demo of birches to see how I worked and discuss methods, order, techniques etc.

It was done straight into watercolour, no preliminary drawing with pencil, with a mix of White Nights and W&N artists pans, on heavy watercolour paper, type unknown as it was donated by one of the class.  There are slight touches of watercolour pencils in there too.

There has been a lot of this sort of light on my journey to and from work lately - brooding skies ahead but sunlight where I am, making the landscape glow.  This particular section is on a highish plateau - the countryside isn't actually this flat roundabout but appears to be in this view.

The trees were sketched in with paint first so that the white of the paper could be retained as necessary.  Then far trees, field, sky and foreground foliage were added in layers and glazes. 

I used these brushes plus a rigger for the calligraphic marks of the foliage and for parts of the trees.

When it was dry I added touches of Derwent Studio pencil to increase the glow or add extra shadow in a couple of places.





Comments

Vivian said…
I enjoyed looking through your blog. You have a wonderful free touch of paint to paper! Although I work in textiles, my work is related to the watercolour techniques I learned some years ago. I think like a painter and translate it into fabric.
6:21 am
vivien said…
thank you :)

I had a look at the quilts on your blogs - there are some beauties

I'm always thinking of playing with textiles and never actually get round to doing it - eventually maybe ....
6:49 pm
Post a Comment

Popular posts from this blog

Hedges silhouetted agains the snow, winter light: watercolour and Derwent tinted charcoal pencils in Stillmand and Birn Beta Hardback sketchbook

Image
 Detail  I have always liked the calligraphic tangle of the hedges when they are sihouetted against the sky.   Recent snowfall meant even more opportunities with amazing light and the landscape simplified and hidden by the snow, throwing hedges into relief. Above is a detail of a double page sketch in the lovely Stillman and Birn Beta A4 hardback sketchbook.  This paper is so forgiving and the watercolour works beautifully with it.  It allowed me to work through wet washes with charcoal pencil - something that tears many papers, leaving holes.  Some of the hedge is paint, some tinted charcoal. First snow, more on the way, winter light: silhouetted hedges in watercolour and Derwent tinted charcoal in a Stillman and Birn A4 beta hardback sketchbook The earlier warm golden glow of the low sun is covered by clouds, threatening more snow to come.   The spiky calligraphic marks of the hedge and the underlying form of the bank, w...
Read more

The Eye, Urban/Rural exhibition

Image
Vivien Blackburn's work in the Urban/Rural show We've just hung a group show at the The Eye Project, Urban/Rural show.  If you want to come and see it it's on for a month - well worth seeing, 11 lovely artists and some fabulous work. Those large canvasses are 40 inches square. There are rural landscapes, flowerscapes, intriguing textile work including a large knitted building, abstracts .... something for everyone. It's in the gallery below the cafe in the Adult Education Centre at the top of Wellington street, Leicester, opposite Fenwicks.  Meet the Arttists day is Saturday 1st April 10-2.  Come and have a chat with us?
Read more

looking at non traditional composition and quiet vs busy areas in paintings

Image
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
Read more