Archive for category Medium: Watercolour

Painting Nature’s Details || Meriel Thurstan and Rosie Martin

This was originally published in 2009 as Natural History Painting With The Eden Project and has now been reissued in paperback.

You can read my original review here.

Click the picture to view on Amazon

Advertisements

Leave a comment

Paint Yourself Positive || Jean Haines

This is the successor to 2016’s Paint Yourself Calm and is ostensibly about mindfulness and working with your imagination rather than a visible subject.

Does that sound unbearably new-agey? You bet it does and in less skilled hands it could be a mess, both in terms of concept, presentation and results. However, Jean is a very capable painter who already works on the edge of abstraction and the illustrations here are very little different to her more conventional work, as seen in books such as Atmospheric Flowers in Watercolour. For her state-of-mind work, she uses imagination to control what appears on paper, but that doesn’t mean unintelligible blobs, but rather images that capture the essence of their subjects – flowers, fish, buildings and animals.

It would be perfectly possible to use this as an aid to mindfulness, but it’s also a very worthwhile guide to a rather different approach to painting. If you already love Jean’s work, this is another pearl of wisdom to treasure. If you’re new to it, it’s no bad place to start.

Click the picture to view on Amazon

Leave a comment

David Bellamy’s Seas and Shorelines in Watercolour

This is David’s best book in a long time and his Arctic trip seems to have rekindled his love of all things rugged. It tells the story of the littoral – the point where land and sea meet. Astonishingly, although there have been books on painting the sea and on coastal scenes, this moment of transition has largely passed the instructional book market by. It’s possible that this is because margins are always hard to define – they’re small and tend to vanish when you look at them.

So, is this a book about nothing at all? Well, no, of course it isn’t. What David has done is to combine the two conventional approaches – sea and land – and show you how they inextricably interact. So, you get waves both crashing and lapping on cliffs and beaches, harbour villages clinging to rocky slopes that teeter down to the water’s edge, as well as boats, buildings, birds and people.

There’s also a nicely complete narrative to the book’s construction. You don’t just get a series of unconnected exercises and demonstrations, but rather the story of how the coastline connects land to water and the margin to itself, creating a string of scenes and opportunities. It’s as thrilling as it is informative and the results are stunning.

Click the picture to view on Amazon

Leave a comment

DVD Watercolour Plein Air || Andy Evansen

There’s so much to like in this engaging and informative film that it’s hard to know where to start.

Let’s begin with an introduction: Andy Evansen is an American artist who paints in the classic English watercolour style, with muted colours and plenty of wet-in-wet. Although that mostly demands larger brushes, his is not the broad-shapes, evolving-composition method, but rather the more holistic approach we’re used to, where the starting point is a general outline that builds on overall composition and colour. He frequently starts with a value sketch which is used establish both the shape of the final work and the way the elements of the picture relate to each other. One of his particularly interesting tropes is unification of shape, where the main elements of the picture effectively merge into each other, creating the line that leads the viewer through the painting.

He is also interesting on the role of the viewer, talking at one point about “the illusion of detail”, where a few clues – in figures and animals, for instance – prompt the eye to fill in the rest of the structure. Overall, too, his way of working is to suggest rather than tell and he is very good on ways of simplifying complex shapes.

This is a film about painting on location and Andy explains why this is important. He shows how colours and composition can be adjusted to reflect the developing scene, how the value sketch can be used as a record when lighting changes and why a photograph can’t capture the subtleties of colour and hues. He also has a trick of leaving the work about 90% complete so that the final touches can be added in the calm of the studio. A quick closing section shows how subtle these can be – small marks that highlight form and structure or clarify some of the smaller details. This is not about fiddling, just tidying up when the overall vision is clearer.

Theses reviews are often peppered with quotes, but Andy isn’t that sort of demonstrator. There aren’t forehead-slapping, “Oh gosh” moments, but rather a growing sense of being informed and of watching what I can really only call the magic taking place before your eyes. It’s hugely entertaining, but strongly and subtly instructive as well. I hope we can see more of Andy.

Click the picture to view on Amazon

Leave a comment

The Watercolour Flower Painter’s A-Z || Adelene Fletcher

This was originally published sufficiently long ago that I haven’t reviewed it here before. It was always a good book and has stood the test of time well. The idea of a series of demonstrations, each occupying a single spread and running from Agapanthus to Zantedeschia, means that a wide variety of types, species, shapes and colours are included. Even though the demonstrations are necessarily concise, the instructions are thorough and will certainly be enough for anyone with a reasonable amount of experience (I’m leaving you to define “reasonable” for yourself as everyone wants something different).

Re-publication has brought this under the umbrella of Search Press’s relationship with Kew, and this is no bad thing. Kew are a world authority and don’t issue their imprimatur lightly, so there’s considerable added authority here. The crispness of the illustrations also suggests re-origination, so there’s really rather a lot to like here.

Click the picture to view on Amazon

Leave a comment

Take Three Colours: Watercolour Mountains || Matthew Palmer

The latest instalment in this user-friendly series is a worthy addition to the canon. Matthew Palmer is an intelligent and sympathetic tutor who carries his abilities lightly. There’s nothing too ambitious and he is happy to take a back seat and let the student work at their own pace. There’s no grandstanding or showmanship, just solid, honest instructions and demonstrations that produce solid, worthwhile results.

It’s a Yes from me.

Click the picture to view on Amazon

Leave a comment

Painting Expressive Landscapes || Carole Robson

If you’re interested in exploring the outer reaches of the possibilities of watercolour, this is the book for you. If, at the same time, you want to keep things creative and are doing this for something more than just technical curiosity, please form an orderly queue. What’s truly remarkable about Carole’s work is that it’s always the creative dog wagging the technical tail and not, as can so easily happen, the other way round.

This is a book that’s full of ideas and a quick flick through reveals a wealth of illustrations that can’t really fail to capture the interest and have you wanting to learn more. It’s also apparent that there’s plenty of information, as is common these days, in extended captions and concise paragraphs. Printing technology (of which more anon) is such now that any book of this type really should be “show me” and not “tell me”. There’s a wealth of information here and, for once, I’m not going to say “such as” because I think you can assume that, if there’s something you want, you’ll find it. If I’m wrong and something is missing, you’ll probably be too busy with what is here to mind too much. This is busy, colourful, packed with information and thoroughly inspiring and I love it.

Now, about printing technology. The basic method hasn’t changed much since Caxton’s day. You have a printing plate that gets covered with ink and then it’s pressed against a sheet of paper. Start to work in colour and there are four plates. Add a half-tone image and there are dots of different colour on each plate and they’re put together in alignment so that you get a colour picture. As mechanical tolerances get finer, the dots can be smaller and closer together and the image gets sharper. All these things tend to progress gently but, every so often, there’s a larger jump and we’re just had one of those. Look at a book published even ten years ago and the quality looks rough compared to what’s possible today. Most publishers and printers adopt these advances fairly quickly, but not all of the publishers and not all of the advances. Search Press, however, have swallowed the whole goody bag and the quality of what’s coming out of their warehouse now is truly remarkable. I’ve been at this a long time and my father was a printer, so I grew up with the technology, and it has me stunned.

So, anyway, buy this book.

Click the picture to view on Amazon

Leave a comment

  • Archives

  • Categories