tag:blogger.com,1999:blog-89906084279091751892024-03-13T13:14:54.778+00:00Learning to draw: Learning to seeWelcome to my blog. Initially, it recorded my progress as I followed the exercises in The Natural Way to Draw by Kimon Nicolaides. Now, it is a journal of my continuing endeavour to learn to draw.Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.comBlogger376125tag:blogger.com,1999:blog-8990608427909175189.post-22438455776076268902024-03-10T15:36:00.000+00:002024-03-10T15:36:26.124+00:00SketchingNow – Watercolour<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nEl5L3Nj1CXwDHduJgVb-bPftkOTzys5QXYQKu6duf33gjW9LKYfTOVzkIMFK75g1DmmInAiKz6o1PrUM2AHZRtekXaAt31HY5-yA_wW19FQwP5kuHXd1QZ1aHlzl70-2H0nfHeFTF80mWCH0cJ4q864mTGSZPRKm-r4-LZh6F3RD6WSngD6g03Pyx_9/s1677/Arrow.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1566" data-original-width="1677" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nEl5L3Nj1CXwDHduJgVb-bPftkOTzys5QXYQKu6duf33gjW9LKYfTOVzkIMFK75g1DmmInAiKz6o1PrUM2AHZRtekXaAt31HY5-yA_wW19FQwP5kuHXd1QZ1aHlzl70-2H0nfHeFTF80mWCH0cJ4q864mTGSZPRKm-r4-LZh6F3RD6WSngD6g03Pyx_9/w400-h374/Arrow.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>River Arrow</b><br />Watercolour and Ink<br />Moleskine A4 Watercolour Album</td></tr></tbody></table><br />Since January, I’ve been participating in a Live Version of Liz Steel’s <a href="https://sketchingnow.com/watercolour/" target="_blank">SketchingNow Watercolour</a> course. I've taken the course previously in 2019. You can see some of my sketches from then in these posts:<div><div><ul style="text-align: left;"><li><a href="https://learningtodrawlearningtosee.blogspot.com/2019/07/sketchingnow-watercolor-lessons-1-to-3.html" target="_blank">SketchingNow Watercolor (Lessons 1 to 2)</a></li><li><a href="https://learningtodrawlearningtosee.blogspot.com/2019/08/sketchingnow-watercolor-lessons-3-to-4.html" target="_blank">SketchingNow Watercolor (Lessons 3 to 4)</a></li></ul></div><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXKRxbS35WPmdnSAAms8SYYHbFrF5XxG30kLLolaMSyGdg-Z_kXV3AhK0Lg1Nodd5x8mJjlw_OrAe0KDNFPp4DNDotzJQ_yvphQVP6rq-leaJf0bKzh_vxgCGsc-enEu-bviEvMPmBJFEd-ZIfldGy6RwDZyxCv5MlijgWgjrH3nRReHQuOTnx-WCLGfWA/s2244/House%20Plant.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2244" data-original-width="1586" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXKRxbS35WPmdnSAAms8SYYHbFrF5XxG30kLLolaMSyGdg-Z_kXV3AhK0Lg1Nodd5x8mJjlw_OrAe0KDNFPp4DNDotzJQ_yvphQVP6rq-leaJf0bKzh_vxgCGsc-enEu-bviEvMPmBJFEd-ZIfldGy6RwDZyxCv5MlijgWgjrH3nRReHQuOTnx-WCLGfWA/w283-h400/House%20Plant.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>House Plant</b><br />Watercolour and Ink<br />Moleskine A4 Watercolour Album</td></tr></tbody></table><br />Liz doesn't teach a traditional approach to watercolor. She uses it in a quicker and more spontaneous way, which lends itself to sketching on location. The course is structured so you can work through it at your own pace, but this year she ran a live version in which you work through the lessons with a group and Liz hosts a weekly live stream. <p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Htdc6sXAo64CSNxnU52ZVgLMdcGznKYXhioLR1KjLg0BAKIzgy0dvHU1128dXCZVE8ZzpH6LGqWtR1AUY_DbHOnwEsjwlWgYY-7HeJm29nkBwq4OcEhHKu_FaJmNKpW-BvFIStv4GMgh0XHy93HIY59BzLQ-cjF0fexHGXrZVcPa_1ruNC_4xyZPAOar/s2162/Vegetables.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1484" data-original-width="2162" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Htdc6sXAo64CSNxnU52ZVgLMdcGznKYXhioLR1KjLg0BAKIzgy0dvHU1128dXCZVE8ZzpH6LGqWtR1AUY_DbHOnwEsjwlWgYY-7HeJm29nkBwq4OcEhHKu_FaJmNKpW-BvFIStv4GMgh0XHy93HIY59BzLQ-cjF0fexHGXrZVcPa_1ruNC_4xyZPAOar/w400-h275/Vegetables.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Vegetables</b><br />Watercolour and Ink<br />Moleskine A4 Watercolour Album</td></tr></tbody></table><br />Working through the course with a group has been motivating and adds an extra bit of encouragement to do the exercises. Seeing other people's work and hearing about what they've learned and found challenging is also helpful. <p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEcY2MT8MYTGCL3anJeMRfN5oNTplZ5jBuJIYo_QsPCQ-Es6LdRBlnYzvunrCt_0MH2lhQDdQkqYkfrWnJSQzpfQ0hJFnS4c9EPGZnIyYQKimWoMh8gHN281cVqOAF_AFkq1XXKiP2_ftYD9vAA0cML_C8yZsA6QaL4yaeik95m1KLLCLFxWyitCEzDne/s1524/Butcher%20Hill's%20Lane%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1524" data-original-width="1514" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwEcY2MT8MYTGCL3anJeMRfN5oNTplZ5jBuJIYo_QsPCQ-Es6LdRBlnYzvunrCt_0MH2lhQDdQkqYkfrWnJSQzpfQ0hJFnS4c9EPGZnIyYQKimWoMh8gHN281cVqOAF_AFkq1XXKiP2_ftYD9vAA0cML_C8yZsA6QaL4yaeik95m1KLLCLFxWyitCEzDne/w398-h400/Butcher%20Hill's%20Lane%202.jpg" width="398" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Butcher Hill’s Lane</b><br />Watercolour and Ink<br />Moleskine A4 Watercolour Album</td></tr></tbody></table><br />I'm building up some sketching momentum and this has encouraged me to join a group run through of Liz's <a href="https://sketchingnow.com/edges/" target="_blank">Edges</a> course which starts in mid-March. This is in preparation for her <a href="https://sketchingnow.com/watercolouronlocation/" target="_blank">Watercolor on Location</a> course which starts in June.<p></p><div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiYP8pCI3OzA8-cOf8JrwCE6GMfVJFbK5dAGXcdUyA3jN8CrwYQFtw6Mi8JNPEYZijKLhHQGBJMrKeEvsVhuqcy5gnqmapxdbsXoWFSa3vOH3YzsRSsWQ8Lp4kUfF799guWt37jQ5L7E5gkMGJdOMHzF-RAp3zO5fuv5SfW-h87GEOrmyPshhbyHnBBGnG/s2293/Still%20Life.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1579" data-original-width="2293" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiYP8pCI3OzA8-cOf8JrwCE6GMfVJFbK5dAGXcdUyA3jN8CrwYQFtw6Mi8JNPEYZijKLhHQGBJMrKeEvsVhuqcy5gnqmapxdbsXoWFSa3vOH3YzsRSsWQ8Lp4kUfF799guWt37jQ5L7E5gkMGJdOMHzF-RAp3zO5fuv5SfW-h87GEOrmyPshhbyHnBBGnG/w400-h275/Still%20Life.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Still Life</b><br />Watercolour and Ink<br />Moleskine A4 Watercolour Album</td></tr></tbody></table><br /></div><div>I am studying Ian Roberts' YouTube videos (<a href="https://www.youtube.com/@IanRobertsMasteringComposition" target="_blank">Ian Roberts Mastering Composition</a>) in parallel to working on Liz's exercises. Most of these sketches have been influenced by his teaching on composition and shadows.</div><div><br /></div><div>You can see a few more sketches and hear a bit more about my experiences with the course and my plans to develop my sketching skills on my YouTube channel <a href="https://youtu.be/32684K8zqy8" target="_blank">SketchingNow Watercolour - What Have I Learnt?</a>.</div></div></div>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-66091983094559077722024-01-28T17:46:00.001+00:002024-02-01T18:28:43.484+00:00Sketching From Nature<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIS8oOYySd-Z_hczsZb4CuVA47_HQaL8HXxsWPWpXN89NPf9XQIXrOywHUot-qNK_fn3iIplUB4ATNpIYcDKpq9oEW2tJqcekNHWuavDk-wJ6HwhD1ZPkPqpxbNgc0uTQ_B8Bnmde8wFPjSoqx1nF3vidaqhp-JukiR0H7DIZ7HA_ENK5FmgV1Eva22yV/s1614/Moss.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="1614" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnIS8oOYySd-Z_hczsZb4CuVA47_HQaL8HXxsWPWpXN89NPf9XQIXrOywHUot-qNK_fn3iIplUB4ATNpIYcDKpq9oEW2tJqcekNHWuavDk-wJ6HwhD1ZPkPqpxbNgc0uTQ_B8Bnmde8wFPjSoqx1nF3vidaqhp-JukiR0H7DIZ7HA_ENK5FmgV1Eva22yV/w400-h269/Moss.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Lump of Moss</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><p>Since October 2023, I've been reading a section of the <a href="https://www.amazon.co.uk/Curious-Nature-Guide-Walker-Leslie/dp/1612125093" target="_blank">Curious Nature Guide</a> by Clare Walker Leslie each week and using it as the inspiration for a sketching exercise. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ0T2g6J8HalyEQbc-eYqnHqffYqKFMlfcT1Kjri1QbiUSInCTB2BaRbUX4XsJHAcHo8iTw5yp76CONllKk8WHp7oI9ovHm3aINHo88FtWZwwrQXBr_tRq88BOlBAFFKofkbNDJJDL5z7FYlFGlKq3LdteyH4GEIfbBHFDoJdWHvZcExS1fVXXeE6eHbvN/s1614/Lavender2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1094" data-original-width="1614" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ0T2g6J8HalyEQbc-eYqnHqffYqKFMlfcT1Kjri1QbiUSInCTB2BaRbUX4XsJHAcHo8iTw5yp76CONllKk8WHp7oI9ovHm3aINHo88FtWZwwrQXBr_tRq88BOlBAFFKofkbNDJJDL5z7FYlFGlKq3LdteyH4GEIfbBHFDoJdWHvZcExS1fVXXeE6eHbvN/w400-h271/Lavender2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Rosemary</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><br />Using a prompt for what to sketch is helpful for a couple of reasons: <p></p><p></p><ul style="text-align: left;"><li>It cuts down the time I need to procrastinate about what to draw.</li><li>It encourages me to try subjects I might not have otherwise chosen.</li></ul><p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy71NfdcoS-z64XjZrHax-_NIvAljE5d-tRVM59WzLriDTpkKRQRZb0n9kKVE4ct7s5ipRqDWloB-nbAGlv62Am_SRL4L3IO8HW3iKtobb2U1-ttNZBk001iakBFiNWDXA8IhkE4G5-EFS8vPwt5obRQFWHjpgD2QsSa32wCjIcIx3Kcc3Tx1_whxo7wQ9/s1598/Early%20Autumn.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1094" data-original-width="1598" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy71NfdcoS-z64XjZrHax-_NIvAljE5d-tRVM59WzLriDTpkKRQRZb0n9kKVE4ct7s5ipRqDWloB-nbAGlv62Am_SRL4L3IO8HW3iKtobb2U1-ttNZBk001iakBFiNWDXA8IhkE4G5-EFS8vPwt5obRQFWHjpgD2QsSa32wCjIcIx3Kcc3Tx1_whxo7wQ9/w400-h274/Early%20Autumn.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Early Autumn</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><p>The sketches have been of varying quality, but the results aren't that important. What matters is the time I've spent drawing and intently studying a subject. The pictures on this post are my favourites. You can see all 13 sketches on my YouTube channel (<a href="https://youtu.be/9MnC6km3lY4" target="_blank">Sketching From Nature – Getting Started</a>).</p><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCcAuVqXs9Gk9ymqlwrwTfPMbbNlnBEEV6GynOVfj-7bHdfcbQ8bVUrqe2yQF2qMv5DtBxQ3Z60mplqywlyOSNMuHoUzUQm9gPQcBPl4l1g-AG5VpZo4am5XJRyD4Q1VnMdhB08BysScDcOzhQOigvcBYuhnFuX-BnazdcoWC4dqAuCNI0kJ8ITMikLOF/s1614/Lilac.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1614" data-original-width="1074" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCcAuVqXs9Gk9ymqlwrwTfPMbbNlnBEEV6GynOVfj-7bHdfcbQ8bVUrqe2yQF2qMv5DtBxQ3Z60mplqywlyOSNMuHoUzUQm9gPQcBPl4l1g-AG5VpZo4am5XJRyD4Q1VnMdhB08BysScDcOzhQOigvcBYuhnFuX-BnazdcoWC4dqAuCNI0kJ8ITMikLOF/w266-h400/Lilac.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Lavender</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />20.3 x 14.0cm cm (8.0" x 5.5")</td></tr></tbody></table><br />My motivation for drawing at least one sketch from life a week is to make sure I keep training my hand eye coordination and the skills to accurately draw a subject. I want sketching from nature to be a reason to get outside and explore. I would like to become more knowledgeable and to develop a joyful appreciation of my environment. I'm keen to visually document my feelings about a place; the mood, the atmosphere and other things that a camera doesn't always capture. The sketches can then be a source of inspiration and reference material for paintings.</div>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-40625658988410988112024-01-07T19:35:00.000+00:002024-01-28T16:36:07.280+00:00Branches<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeKxpbvS8SuwZWkXrkCw6zg9FX-vu1wkaTFAtclZTSxbx9Ne00H4ZAAMoBa2EW5DXon2GVcWmOvwuKishtzP8uTQ9kubQVCVav1JT39mD7Yn2NpivRuedV1bqddSVZF72Dj2ajNoAwGH6a55eldYyoFFOUXk601s1BExL_G9nyzwfuEYFuyDCOAQYwHp_r/s1200/Woodchester%20Beech.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="807" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeKxpbvS8SuwZWkXrkCw6zg9FX-vu1wkaTFAtclZTSxbx9Ne00H4ZAAMoBa2EW5DXon2GVcWmOvwuKishtzP8uTQ9kubQVCVav1JT39mD7Yn2NpivRuedV1bqddSVZF72Dj2ajNoAwGH6a55eldYyoFFOUXk601s1BExL_G9nyzwfuEYFuyDCOAQYwHp_r/w269-h400/Woodchester%20Beech.jpg" width="269" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Woodchester Beech</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Branches is the fourth topic in the Tree Techniques chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice.<p></p><p>This post has been a long time coming. The topics in this chapter are continuing to be challenging and educational. I made a few false starts on this subject trying to paint winter trees in sunsets. I’ve also been distracted by my new YouTube channel - <a href="https://www.youtube.com/@MarkBatemanArt" target="_blank">Mark Bateman Art</a>.</p><p>There are two videos about this painting: </p><p></p><ul style="text-align: left;"><li><a href="https://youtu.be/EmYDuBYVDT0" target="_blank">Creating a Blurred Soft-Focus Background in Watercolour</a> </li><li><a href="https://youtu.be/7VdmypJZY4M" target="_blank">Painting a Textured 3-Dimensional Tree in Watercolour</a></li></ul><p></p><p>The blurred soft-focused background is painted with the same technique I used in the post about painting <a href="https://learningtodrawlearningtosee.blogspot.com/2022/11/a-fuzzy-background.html" target="_blank">A Fuzzy Background</a>.</p><p>I gave the tree some form with a modelling wash (mostly light grey with some dark in the shadows) and then slowly built up the shape and texture in layers using drybrush.</p><p>The finishing touch was to add some foreground leaves in gouache.</p><p>Hopefully, creating videos will become less time consuming and I will be able to get back to drawing and painting.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-58703054619478980972023-12-24T11:36:00.002+00:002023-12-24T11:36:46.785+00:00Happy Christmas 2023<p><span style="font-family: Architects Daughter; font-size: x-large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7sjXLxqaQDTe-6Yx7C9KXay9NlD5LFgclWdLd94Bfh_8j9V5NxcYBwv3M5FeoMXT2HJL8QdB9atHxbEK2NMV3l74QGguvlZKBjTtBG_kqlwPTtijj3ZN38Yuw095Ee-kvcRtI5B2yTg1PPKxW_PoUlpixVdTOzL6CsOH6JbS_N7OQE0dBQAiWrdHAhOeg/s1200/Happy%20Christmas%202023.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="832" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7sjXLxqaQDTe-6Yx7C9KXay9NlD5LFgclWdLd94Bfh_8j9V5NxcYBwv3M5FeoMXT2HJL8QdB9atHxbEK2NMV3l74QGguvlZKBjTtBG_kqlwPTtijj3ZN38Yuw095Ee-kvcRtI5B2yTg1PPKxW_PoUlpixVdTOzL6CsOH6JbS_N7OQE0dBQAiWrdHAhOeg/w400-h278/Happy%20Christmas%202023.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Happy Christmas 2023<br />Watercolour on Paper<br />11.5cm x 17cm (4.5" x 6.75")</td></tr></tbody></table><span style="font-family: Architects Daughter; font-size: x-large;"><div style="text-align: center;">Wishing You Peace and Happiness for Christmas and the New Year</div></span><p></p><p>Sorry for the lack of posts this year. Starting a YouTube channel (<a href="https://www.youtube.com/@MarkBatemanArt" target="_blank">MarkBatemanArt</a>) has taken a lot of time. Normal service will be resumed in 2024 - hopefully.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-30879662629338214052023-09-17T15:23:00.000+01:002023-09-17T15:23:19.264+01:00More Recent Sketches<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkDGdDg7wPKZiuqCCpBZW6eAqN2gek64VjpgCjMFWkNyHC9XQtBcOmIcXIJEtnB8lH4n4Rt80bgjjn7N-shbUBia6QhoI4QOSrT2qRfBcWQdxQQltFJZRnhreo1iIqjAgqmqmXoTr1p5qA8juzHsiaN-oNPzJfgFvKuCFrB0IzKknov-8j_xZqN1SFuKar/s1200/Aloe%20Vera.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="857" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkDGdDg7wPKZiuqCCpBZW6eAqN2gek64VjpgCjMFWkNyHC9XQtBcOmIcXIJEtnB8lH4n4Rt80bgjjn7N-shbUBia6QhoI4QOSrT2qRfBcWQdxQQltFJZRnhreo1iIqjAgqmqmXoTr1p5qA8juzHsiaN-oNPzJfgFvKuCFrB0IzKknov-8j_xZqN1SFuKar/w286-h400/Aloe%20Vera.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aloe Vera</b><br />Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />20.3 x 14cm cm (8.0" x 5.5")</td></tr></tbody></table><br />Sorry for the lack of posts. Starting a YouTube channel (<a href="https://www.youtube.com/@MarkBatemanArt" target="_blank">MarkBatemanArt</a>) has distracted me from drawing, painting and blogging.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6mNnWGbtNTRduvCKzNTsa6S9XbmLyWJ40bRy9xrTuzij456z2CLi_u3JHmHS7tU_4Cid8-HIZNb9dx1iqMEzruV81JFxeB13ZT9mxHglsEXM1WdLIqciNxeozH0a7IxM2dP5bL2YYSCSrS7TaF46yYASewjzM1HwympeZJbXloEBKFC5QN5upXYIkwX0l/s1200/Prawn%20and%20couscous%20salad.jpg" style="margin-left: auto; margin-right: auto;"><b><img border="0" data-original-height="806" data-original-width="1200" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6mNnWGbtNTRduvCKzNTsa6S9XbmLyWJ40bRy9xrTuzij456z2CLi_u3JHmHS7tU_4Cid8-HIZNb9dx1iqMEzruV81JFxeB13ZT9mxHglsEXM1WdLIqciNxeozH0a7IxM2dP5bL2YYSCSrS7TaF46yYASewjzM1HwympeZJbXloEBKFC5QN5upXYIkwX0l/w400-h269/Prawn%20and%20couscous%20salad.jpg" width="400" /></b></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Prawn and Couscous Salad</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td><td class="tr-caption"><br /><br /></td></tr></tbody></table><br />Once a week, I’ve been sketching from life. A lot of these have been based on exercises from<a href="https://sketchingnow.com/edges" target="_blank"> Liz Steel’s SketchingNow Edges.</a><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJqpM6Zk4lHaIU5LOLtSDavyH24SfOGGtG6zC9SS64FPsVnply4rkwlwVDJYIbD93u9jUZmNrV9p4IloDxzy3LzXtjaK5MPDQS0ZhxfATPOMq1vTGH6SwVuVyCCxiPhMAGgsKmarSFNoe2tbYvFlZmrZZJqt7N_hVLBS8rV_kFRCBGb_3XLVc9q_f8v9Mi/s1200/Gift%20Box.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="836" data-original-width="1200" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJqpM6Zk4lHaIU5LOLtSDavyH24SfOGGtG6zC9SS64FPsVnply4rkwlwVDJYIbD93u9jUZmNrV9p4IloDxzy3LzXtjaK5MPDQS0ZhxfATPOMq1vTGH6SwVuVyCCxiPhMAGgsKmarSFNoe2tbYvFlZmrZZJqt7N_hVLBS8rV_kFRCBGb_3XLVc9q_f8v9Mi/w400-h279/Gift%20Box.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Gift Box</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><br />This lovely little decorated box was made by Wendy.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidgPJlleJywo66V-NtXFXqfbDOfhGTlImcmXFTGlO44sJJ4QL3xcbvUZSq-01hXf8Y4BmRf75Gs1ji-jzd9AfqZqNFqXfWWdAZU8etnfa8FEHjUISdrwbdjgU8BCW2BwhU3Fc17quo4Zkv9b3SaVzYFq3eX0tdMIDGWfMwf7Jd3_VYihk7i08kciOAW4id/s1200/Talland%20Bay%20Tea.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="825" data-original-width="1200" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidgPJlleJywo66V-NtXFXqfbDOfhGTlImcmXFTGlO44sJJ4QL3xcbvUZSq-01hXf8Y4BmRf75Gs1ji-jzd9AfqZqNFqXfWWdAZU8etnfa8FEHjUISdrwbdjgU8BCW2BwhU3Fc17quo4Zkv9b3SaVzYFq3eX0tdMIDGWfMwf7Jd3_VYihk7i08kciOAW4id/w400-h275/Talland%20Bay%20Tea.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Tea, Biscuits and a Seaview</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><br />At the beginning of the summer, Elaine, Doris and I had a pleasant few days at the <a href="https://www.tallandbayhotel.co.uk/" target="_blank">Talland Bay Hotel</a> in Cornwall. These are the tea making facilities (and biscuits) from our room. I painted them as Doris recovered from a blistering hot day on the coastal path.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzXwMXu0_OQ0ytEdk7iN27hRgdYHMbZ4p_RW8zCwMU0eX9koblSnjQm6K0xHBZUvIcXfY8LPezRA7bkbem2hdaNZUiZGtRFk0nbd6og2J2QfbEUKwEDNwibcYqnZ8b3BMehZRtkwAe5eEhoYPydfjeDOKEmuYiyZ0vn12CHh88TBRZiAcI-fTN60tWO8R/s1200/Fern.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="848" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzXwMXu0_OQ0ytEdk7iN27hRgdYHMbZ4p_RW8zCwMU0eX9koblSnjQm6K0xHBZUvIcXfY8LPezRA7bkbem2hdaNZUiZGtRFk0nbd6og2J2QfbEUKwEDNwibcYqnZ8b3BMehZRtkwAe5eEhoYPydfjeDOKEmuYiyZ0vn12CHh88TBRZiAcI-fTN60tWO8R/w283-h400/Fern.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Father's Day Fern</b><br />Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />20.3 x 14cm cm (8.0" x 5.5")</td></tr></tbody></table><br />The aloe vera at the top of the post and this fern were Father’s Day presents from Doris. I've no idea where she got the money from - best not to ask.Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-11637119387835365022023-06-18T18:08:00.000+01:002023-06-18T18:08:36.756+01:00Recent (And Not So Recent) Sketches<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLmbWsdt8EXAANlYAiJdTl7y1S9L1coorZbAVSk5lHXYRVpVF_3BRzN_GTspEjb8N-oxV2JtnFG2U1G56FpV9nJXGXogmVDwwMBKu0DSuGL1uXWGS_bPrUj18rUXEEg5pTFdT_lk8qbBUmngGNtaGMgFafL9lbGef53ahiLQLtx5AqVEXi49ANnN7qpg/s1200/Cottage%20sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="833" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLmbWsdt8EXAANlYAiJdTl7y1S9L1coorZbAVSk5lHXYRVpVF_3BRzN_GTspEjb8N-oxV2JtnFG2U1G56FpV9nJXGXogmVDwwMBKu0DSuGL1uXWGS_bPrUj18rUXEEg5pTFdT_lk8qbBUmngGNtaGMgFafL9lbGef53ahiLQLtx5AqVEXi49ANnN7qpg/w400-h278/Cottage%20sketch.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>No Flat Roads</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td><td class="tr-caption"><br /></td></tr></tbody></table><br />Before Christmas, I realised I wasn’t drawing and painting from life very much, so I started doing an exercise a week from Liz Steel's <a href="https://sketchingnow.com/foundations2023/" target="_blank">SketchingNow Foundations</a>. <p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmttNEGFYDmY429ozcEHZo3eLcFbv7XnQjg9ZkvInWZMo50U-9IxMEwb7wkJ3rLe7KN5VT7ehZKGrTgVT0BzkAjgyZn5gs9S1Ub-bEJ4lgsohBXCJt2bYPq2btR7fQxpfS7pKDXIroviDuj3BnWo2Jxrt32_wOhvdg7QRXmMM7HY4EbE9toak1U3iIg/s1023/Roses%20sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1023" data-original-width="678" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwmttNEGFYDmY429ozcEHZo3eLcFbv7XnQjg9ZkvInWZMo50U-9IxMEwb7wkJ3rLe7KN5VT7ehZKGrTgVT0BzkAjgyZn5gs9S1Ub-bEJ4lgsohBXCJt2bYPq2btR7fQxpfS7pKDXIroviDuj3BnWo2Jxrt32_wOhvdg7QRXmMM7HY4EbE9toak1U3iIg/w265-h400/Roses%20sketch.jpg" width="265" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Quick Sketches Still Count</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0cm x 8.9cm (5.5" x 3.5")</td></tr></tbody></table><br />These are a few of the sketches I’ve created since then. <p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1bWopVD7ABuaQ8k5h_2DjqejTEscvOgBCUXjnfeg9neevwzcAFgqorrA-LcaZbfuLgMGQ-3qYLFwwi3KqFIdM7Ajm4hL7lV75MdF7dSFumxDoEd8ZQAkkNDyB7TfSd2ZSW5-qzeFmaoM8aDCG8-Vt0xOPT6NCLcZpHRJKFsQi9zY3hbNBjpn9kYdTZA/s1200/Palette%20Sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="827" data-original-width="1200" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1bWopVD7ABuaQ8k5h_2DjqejTEscvOgBCUXjnfeg9neevwzcAFgqorrA-LcaZbfuLgMGQ-3qYLFwwi3KqFIdM7Ajm4hL7lV75MdF7dSFumxDoEd8ZQAkkNDyB7TfSd2ZSW5-qzeFmaoM8aDCG8-Vt0xOPT6NCLcZpHRJKFsQi9zY3hbNBjpn9kYdTZA/w400-h276/Palette%20Sketch.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Palette</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />14.0 x 20.3cm cm (5.5" x 8.0")</td></tr></tbody></table><br />This is at least the third time I've taken the course. Not all the sketches have been successes because I am a bit out of practice and I am challenging myself to tackle difficult subjects from taxing angles.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJ24dbprA1-SF26YCwlRIcWV3CUgQGWwKahKeuMM7SHZ82VsdIndPuFhmqaCenXbHRW4MtaInTtuiEWiyqwHL9U2z3kNDI_PqPIXPOsowReVfT8mBNaT5WCbFPXjX0nWlH23wx65FeGgQhlW4krHTEM4ptljtD0L7nhIPD9_FrnD-4hb0jLdkZZfpxA/s1200/Key%20Sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="826" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJ24dbprA1-SF26YCwlRIcWV3CUgQGWwKahKeuMM7SHZ82VsdIndPuFhmqaCenXbHRW4MtaInTtuiEWiyqwHL9U2z3kNDI_PqPIXPOsowReVfT8mBNaT5WCbFPXjX0nWlH23wx65FeGgQhlW4krHTEM4ptljtD0L7nhIPD9_FrnD-4hb0jLdkZZfpxA/w275-h400/Key%20Sketch.jpg" width="275" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>What's in my Pocket?</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />20.3 x 14cm cm (8.0" x 5.5")</td></tr></tbody></table><br />My new YouTube channel (https://www.youtube.com/@MarkBatemanArt ) is taking up a lot of time, but I am still managing at least one sketch a week.<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYqs_CbvyYNCGkkMGcn1sqIgyRYcxXLQNEb8qkGf6u7tT3m_PCdjpWnvo94UWUtoNRTGpx6JkBEeXbzHdWzGWBzQk5dzbCXNKEpd_brA2cAbqL8O2v6aKDSY8LkQGqX96FeljaU1Xi9cvS0lBSvbSWaiTl7520ZK_2aidJrMnaB5ljRmystlpjuhNCA/s1200/Over%20the%20Fence%20Sketch.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="832" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYqs_CbvyYNCGkkMGcn1sqIgyRYcxXLQNEb8qkGf6u7tT3m_PCdjpWnvo94UWUtoNRTGpx6JkBEeXbzHdWzGWBzQk5dzbCXNKEpd_brA2cAbqL8O2v6aKDSY8LkQGqX96FeljaU1Xi9cvS0lBSvbSWaiTl7520ZK_2aidJrMnaB5ljRmystlpjuhNCA/w278-h400/Over%20the%20Fence%20Sketch.jpg" width="278" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Over the Fence</b><br />Ink and Watercolour<br />Stillman & Birn Alpha Series Sketchbook<br />20.3 x 14cm cm (8.0" x 5.5")</td></tr></tbody></table>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-14256691131852814052023-05-28T19:03:00.000+01:002024-01-28T16:36:14.852+00:00Roots<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDB2jWIC1dmLfaeB2_gRg10T9ZOyg2tfVuV1FQXvUYiLeI2AvF9jqgP5GGJQZTgVCRUk-FatNXnIkq-7C8TxlFmRECNZyfIsxYxoFXltgc4sTHL3olSjOLyRv4o67vBnJZOX3c-2K9i8ID44RtnUDyHJEBp_UXz5N3Bf7KGSUHlotUpy0_qSRs8gtgQ/s1200/Roots.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="786" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDB2jWIC1dmLfaeB2_gRg10T9ZOyg2tfVuV1FQXvUYiLeI2AvF9jqgP5GGJQZTgVCRUk-FatNXnIkq-7C8TxlFmRECNZyfIsxYxoFXltgc4sTHL3olSjOLyRv4o67vBnJZOX3c-2K9i8ID44RtnUDyHJEBp_UXz5N3Bf7KGSUHlotUpy0_qSRs8gtgQ/w263-h400/Roots.jpg" width="263" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Roots</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Roots is the third topic in the Tree Techniques chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice.<p></p><p>The topics in this chapter are challenging and educational. They are providing the perfect opportunity to experiment with and to develop a feel for drybrush technique. The key skill seems to be patience. I made quite a few mistakes with this picture, but I managed to correct some of them and making mistakes is a good way to learn.</p><p><a href="https://jamesgurney.com/" target="_blank">James Gurney</a> recently published an interesting post about Andrew Wyeth's use of drybrush (see <a href="http://gurneyjourney.blogspot.com/2020/10/what-did-andrew-wyeth-mean-by-drybrush.html" target="_blank">What did Andrew Wyeth mean by "drybrush?"</a>).</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-13258922865654147592023-05-07T16:18:00.000+01:002024-01-28T16:36:23.602+00:00Hardwood Tree Bark<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-170xnBfDDAtQ91FzqnBXuIsIlJ_H87JtoxWWC3k-HIQJuf_utUgfAGOPax8dHmFaA2oZ8J62QU2TstdaFbQ-ilGkpPWlfomB35I6PKUvH2s2j-k9yjyAlnIlibwaQaVpRn2WUPCLoxByxThoUGqT3rkqH28lG8J1V6aD79t9hh56Z7kKf8p2AWwhtA/s1200/Beech.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="809" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-170xnBfDDAtQ91FzqnBXuIsIlJ_H87JtoxWWC3k-HIQJuf_utUgfAGOPax8dHmFaA2oZ8J62QU2TstdaFbQ-ilGkpPWlfomB35I6PKUvH2s2j-k9yjyAlnIlibwaQaVpRn2WUPCLoxByxThoUGqT3rkqH28lG8J1V6aD79t9hh56Z7kKf8p2AWwhtA/w270-h400/Beech.jpg" width="270" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Beech Tree Bark?</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Hardwood Tree Bark is the second topic in the Tree Techniques chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>Pretty sure this is some kind of Beech tree, but I have to put more effort into identifying trees. I should start by making notes about what I photograph as Elaine, Doris, and I wander around <a href="https://www.forestryengland.uk/westonbirt-the-national-arboretum" target="_blank">Westonbirt Arboretum</a> (Will I ever learn - I took some photos today and still forgot to take notes).</p><p>All the texture on this tree was created using dry brush. This was a break through because until now I’ve struggled with the technique. I also used a masking fluid applicator to reserve some highlights. This is the most delicate use of masking fluid I’ve achieved, so I am pleased with the purchase (see <a href="https://learningtodrawlearningtosee.blogspot.com/2023/02/drawing-and-painting-landscape-masking.html">Drawing and Painting the Landscape - Masking</a>). </p><p>You may have noticed I’ve not been posting as regularly as usual, this is because I am distracted by a side project. I’ve started a YouTube channel - <a href="https://www.youtube.com/channel/UC4_lQU4upDZEmihcHQlnztQ" target="_blank">Mark Bateman Art</a>.If you are interested, please take a look.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-64018629799043310032023-04-16T17:15:00.001+01:002024-01-28T16:36:42.535+00:00Conifer Tree Bark<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5U2rufcy6-8O0AhkG0k0jlg4BTfGTudm8Fnh8Jk3pipK02cSrY2wVVsj6BXoUrazE55EovHkSzie7c8TQpoQTjICUOclJAqpc-LYzcRfeOB68qVTuQkmarjlSY_G0PFi-XvnKQxAe_Bb1foTkeAod8pk8YDkM_MbdE1snKwvcrVX1ECygUZPvr_JzcA/s1914/Conifer%20Tree%20Bark.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1914" data-original-width="1278" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5U2rufcy6-8O0AhkG0k0jlg4BTfGTudm8Fnh8Jk3pipK02cSrY2wVVsj6BXoUrazE55EovHkSzie7c8TQpoQTjICUOclJAqpc-LYzcRfeOB68qVTuQkmarjlSY_G0PFi-XvnKQxAe_Bb1foTkeAod8pk8YDkM_MbdE1snKwvcrVX1ECygUZPvr_JzcA/w268-h400/Conifer%20Tree%20Bark.jpg" width="268" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Conifer Tree Bark</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td><td class="tr-caption"><br /></td></tr></tbody></table><br /><div>Conifer Tree Bark is the first topic in the Tree Techniques chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>Claudia uses Indian Ink to draw the heavily textured bark in her examples and then tints them with watercolour. I tried this approach, but it didn’t turn out satisfactorily because my tree is less textured and a much lighter in tone than her subjects. </p><p>The picture on this post is my second attempt. This time, I painted the tree with light watercolour washes and added the bark pattern with dry brush work and sponged texture. This version is better, but now the bark is not conspicuous enough. This chapter is looking like hard work and I am expecting to learn a lot.</p></div>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-16650904972105967022023-03-19T13:44:00.000+00:002023-03-19T13:44:36.778+00:00Driftwood<p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwkYk7qPtdMOdw6l-pCaY6rkqTXobinQyLCHGWk5T6pKd_6vCHyx1iRCOLWWAwdfsRkavRfPht9W3frTuEWdTrgoEoX3y_0iO77vKUBv_PbKHcB7MVzD1PniDfxyMb8iF1pmBLDv3Bn6kIvuGuB8YCNZCFfLM0PjDbxyC8I93y0B5tOEFSzXsuJ1WfA/s1200/Sculpture.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="791" data-original-width="1200" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwkYk7qPtdMOdw6l-pCaY6rkqTXobinQyLCHGWk5T6pKd_6vCHyx1iRCOLWWAwdfsRkavRfPht9W3frTuEWdTrgoEoX3y_0iO77vKUBv_PbKHcB7MVzD1PniDfxyMb8iF1pmBLDv3Bn6kIvuGuB8YCNZCFfLM0PjDbxyC8I93y0B5tOEFSzXsuJ1WfA/w400-h264/Sculpture.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Driftwood Sculpture</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />Driftwood is the last topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>We don’t live near the sea and the only piece of driftwood knocking around is in this sculpture by <a href=" https://www.mikelythgoe.com/" target="_blank">Mike Lythgoe</a>. I’ve drawn it once before – back in 2015 (see <a href="https://learningtodrawlearningtosee.blogspot.com/2015/02/january-2015-sketches.html" target="_blank">January 2015 Sketches</a>). </p><p>Studying the piece intensely has helped me to appreciate it even more. I don’t think I had really noticed the shadows until I sat down to paint it.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-37076430342426300392023-03-05T13:01:00.057+00:002023-03-05T16:37:13.645+00:00Drawing and Painting the Landscape – Underpainting<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiWlkIP6uOOAAmSX6aLyLDbBhrI2m0VKoJa1lMB51pSi7xhgS5TXBzTVs4ypr7Ph2mxtkMkgmmlaOKxE9TVgFjKn9YmvpfgnYE3GQI5nwY0vzOUUl0NN7aB7Ob20t1Ze0Yy9tcZUu17vQyT3r54dwMspuJS6S0c6hsmaNkzG2pHIIO-rfrKvuYf70PoQ/s1200/Downham%20Hill%20from%20Uley%20Bury.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="597" data-original-width="1200" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiWlkIP6uOOAAmSX6aLyLDbBhrI2m0VKoJa1lMB51pSi7xhgS5TXBzTVs4ypr7Ph2mxtkMkgmmlaOKxE9TVgFjKn9YmvpfgnYE3GQI5nwY0vzOUUl0NN7aB7Ob20t1Ze0Yy9tcZUu17vQyT3r54dwMspuJS6S0c6hsmaNkzG2pHIIO-rfrKvuYf70PoQ/w400-h199/Downham%20Hill%20from%20Uley%20Bury.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Downham Hill (Smallpox Hill) from Uley Bury<br />Underpainting - Drawing and Painting the Landscape</b><br />Acrylic on MDF<br />20cm x 40cm (7.75" x 17.75")</td></tr></tbody></table><br />Lesson 38 of <a href="https://www.amazon.co.uk/Drawing-Painting-Landscape-course-lessons/dp/1785003240" target="_blank">Drawing and Painting the Landscape</a> by <a href="https://philip-tyler-artist.squarespace.com/" target="_blank">Philip Tyler</a> introduces underpainting as a technique used by historical painters. They would create a monochromatic painting using cheap quick drying pigments to establish the composition and major tonal values. They would then glaze this with more expensive pigments introducing colour and more subtle tonal shifts. He points out that monochromatic underpainting provides another opportunity to work with a new medium without having to deal with the complexity of colour.<p></p><p>I created this underpainting with a 10-year-old, unopened tube of a cheap Payne’s Grey acrylic. I also glazed it with 10-year-old acrylics. These were better quality, but also unopened. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbWTPHWK9ZQ3BkhctdN8l5etvGPCS1puO3o2K0KgUpviIJhY944QPJjHS9SN37J4bleHY7tq-EWTTvaZBRXYzhTgkfw6TNh6PaO2XXr9uq3JwDX5hg3iQS-E7_IK_GzkFaeXJxiaVdnFCQg7DLaE4hIuiKcTkleMnrR2-nVwDlWp7U3wiQ9UEvy1X6g/s1200/Downham%20Hill%20from%20Uley%20Bury%20(under).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="604" data-original-width="1200" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbWTPHWK9ZQ3BkhctdN8l5etvGPCS1puO3o2K0KgUpviIJhY944QPJjHS9SN37J4bleHY7tq-EWTTvaZBRXYzhTgkfw6TNh6PaO2XXr9uq3JwDX5hg3iQS-E7_IK_GzkFaeXJxiaVdnFCQg7DLaE4hIuiKcTkleMnrR2-nVwDlWp7U3wiQ9UEvy1X6g/w400-h201/Downham%20Hill%20from%20Uley%20Bury%20(under).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Underpainting - Drawing and Painting the Landscape</b><br />Acrylic on MDF<br />20cm x 40cm (7.75" x 17.75")</td></tr></tbody></table><br />This is the most ambitious painting I’ve tried in acrylics. One of the biggest challenges was that some colours barely tinted the underpainting, while others completely obscured it. I should have expected this because the transparency/opacity of different pigments is an important factor in watercolour, but it still blindsided me when the same thing became important for acrylic glazes. It is only when I wrote this post that I compared the two versions of the picture. Each change of tone in the underpainting is still visible in the glazed version - even when I thought the underpainting was completely obliterated, it still has an impact on the final painting - lesson learnt.<p></p><p>Philip suggests experimenting with different underpainting colours, but one is enough for me (for the time being). This exercise has opened my eyes to acrylics. I’m excited to paint some more, but this style of underpainting is not top of my list of techniques to explore.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-52304738882066028402023-02-17T12:40:00.000+00:002023-02-19T15:36:24.787+00:00Old Wooden Structures<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZhJqCQJ8jFN9CGd5_CMBDzPaUoVPVf-tnFdjQG_6BEbx4iEIGVGQIyZdhRr7_gmvHE4OgmS_DqSgH61wodZzTXXdAI_wB9qzwSY1KLIJlwEK1SAOJ_y_Owh7ldzaoZEQUyMdxSxesVewNXn3NC3ItCBfJWz0HMX3UKNSn6a2n3YIxq7MNF0_qVGltZw/s1200/Wine%20Barns2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="803" data-original-width="1200" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZhJqCQJ8jFN9CGd5_CMBDzPaUoVPVf-tnFdjQG_6BEbx4iEIGVGQIyZdhRr7_gmvHE4OgmS_DqSgH61wodZzTXXdAI_wB9qzwSY1KLIJlwEK1SAOJ_y_Owh7ldzaoZEQUyMdxSxesVewNXn3NC3ItCBfJWz0HMX3UKNSn6a2n3YIxq7MNF0_qVGltZw/w400-h268/Wine%20Barns2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Winery Barns<br /></b>Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />Old Wooden Structures is the sixth and penultimate topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>These are some barns at one of the wineries in Niagara on the Lake. I took the photo in 2011, so I can’t be sure which winery and I suspect the barns have gone. The one on the right was the tasting room.</p><p>I cross referenced Claudia’s guidance with suggestions from <a href="https://www.johnlovett.com/" target="_blank">John Lovett</a>‘s book Textures, Techniques and Special Effects for Watercolor; which is sadly out of print.</p><p>Painting the texture of the timbers was harder than I expected even with two sources of advice - I need more practice.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-75023653145615803472023-02-05T17:49:00.001+00:002023-02-28T20:25:15.335+00:00Drawing and Painting the Landscape – Masking<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MC6a0NpqE80baKi4y8_Lv8RS1wlCc77cDsQZKp63tQstllCpCCb5LZVolJS79d5YpUt9xwuF7OXuM38Xac1v1Qm08HXjphF9dVG0ysTBCP-ukGiN9S7aQBsIJHestTaGVc1nn_ah4cAnaxisiuzISZzrgZyoRnBFqftdpglvjEmnSKQ433fvt6TJAA/s1200/Boats%20on%20the%20Dart.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="783" data-original-width="1200" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_MC6a0NpqE80baKi4y8_Lv8RS1wlCc77cDsQZKp63tQstllCpCCb5LZVolJS79d5YpUt9xwuF7OXuM38Xac1v1Qm08HXjphF9dVG0ysTBCP-ukGiN9S7aQBsIJHestTaGVc1nn_ah4cAnaxisiuzISZzrgZyoRnBFqftdpglvjEmnSKQ433fvt6TJAA/w400-h261/Boats%20on%20the%20Dart.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Dart Moorings</b><br />Watercolour on Paper<br />15.5cm x 23.5cm (6" x 9.25")</td></tr></tbody></table><br />Lesson 36 of <a href="https://www.amazon.co.uk/Drawing-Painting-Landscape-course-lessons/dp/1785003240" target="_blank">Drawing and Painting the Landscape</a> by <a href="https://philip-tyler-artist.squarespace.com/" target="_blank">Philip Tyler</a> starts with a discussion of masking and then introduces a number of other watercolour topics.<p></p><p>Masking is the technique of using a fluid (rubber solution) or tape to preserve the white of the paper. You could just carefully paint around the white areas, but masking them makes life easier. I wrote about this approach recently (see <a href="https://learningtodrawlearningtosee.blogspot.com/2022/11/a-fuzzy-background.html" target="_blank">A Fuzzy Background</a>).</p><p>Some people never use masking because it can cause problems. Most notably, the edges created by masking can appear too hard and prominent. Masking fluid is also notorious for wrecking brushes. You have to use an old brush and protect the bristles by covering them in soap; which can make it difficult to apply the masking fluid accurately. It can also tear the paper if you leave it too long before removing it.</p><p>In honour of this lesson, I bought a fine tipped masking fluid applicator (<a href="https://www.jacksonsart.com/jackson-s-empty-masking-fluid-applicator" target="_blank">Jackson's Masking Fluid Applicator</a>) to mask the boats in this painting. It was the least stressful masking fluid experience I can remember.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8TkjK2kRa8_tHrcGdG22CN0GTHKcd2YU64r0pxrqufGt9fRt5omNK0YqvLPF2mlz5WPw_4fS1HrTG7gmOA-UYltkQJrBfviuSVBu2inWKGTIEhEc_5fslh76wbpc95jbgIGqhxxJCnfgviX7nDV9_sIQHLuLR8JfsVKEaBdjyXtrspgf9L7TOSLyDg/s1200/Masking%20Fluid%20Applicator.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW8TkjK2kRa8_tHrcGdG22CN0GTHKcd2YU64r0pxrqufGt9fRt5omNK0YqvLPF2mlz5WPw_4fS1HrTG7gmOA-UYltkQJrBfviuSVBu2inWKGTIEhEc_5fslh76wbpc95jbgIGqhxxJCnfgviX7nDV9_sIQHLuLR8JfsVKEaBdjyXtrspgf9L7TOSLyDg/w300-h400/Masking%20Fluid%20Applicator.JPG" width="300" /></a></div><br />A monochrome study of this scene in which the horizon was much lower (see <a href="https://learningtodrawlearningtosee.blogspot.com/2022/12/drawing-and-painting-landscape.html">Drawing and Painting the Landscape – Monochrome Study</a>) made me suspect the composition would work better with more water and less sky.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCIByQJC6R42Cu9t6KKhW_l-ewCPYfMn02hx0DoaiIvtmUqbV1ZYggniLge-UOT_1F8lP-CMRY7AcCitzm-T8ZxRsr_lqPzISgCrv6hdl5KZMQUMNNUxklly4W0Wy3fBJNv-AQ74GEh6QTyc7_FEXVotP-OmzI_uQcTnhfs9umaKvOrzhRNgr_hnEKg/s887/Boats%20on%20the%20Dart%20(thumbnail).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="673" data-original-width="887" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCIByQJC6R42Cu9t6KKhW_l-ewCPYfMn02hx0DoaiIvtmUqbV1ZYggniLge-UOT_1F8lP-CMRY7AcCitzm-T8ZxRsr_lqPzISgCrv6hdl5KZMQUMNNUxklly4W0Wy3fBJNv-AQ74GEh6QTyc7_FEXVotP-OmzI_uQcTnhfs9umaKvOrzhRNgr_hnEKg/w400-h304/Boats%20on%20the%20Dart%20(thumbnail).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Dart Moorings - Thumbnail Sketch - 6.5cm x 10cm (2.5" x 4")</b><br />Pencil on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><br />A thumbnail helped to confirm this before committing to paint.<p></p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-63675320101548292862023-01-22T18:10:00.001+00:002023-01-22T18:10:52.260+00:00Aged Wooden Shakes<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdI75OwFSPb1kKfsUgy0s42HU4k2FI9nSjkaaqegTJT0GXMsEHbmIDWQTL3NagDymW5A_wH6EFgB7A2ahenbhNiPbLKpRtuzHMOprlK1tvEABpRqIMx2zjfTiG124dNRvY_qfCXR49VRKHkW1zCe_aurfFa8Tb3BnSQPMSZEl6-Czc1kluYWI12olOrg/s1200/Woodchester%20Boathouse.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdI75OwFSPb1kKfsUgy0s42HU4k2FI9nSjkaaqegTJT0GXMsEHbmIDWQTL3NagDymW5A_wH6EFgB7A2ahenbhNiPbLKpRtuzHMOprlK1tvEABpRqIMx2zjfTiG124dNRvY_qfCXR49VRKHkW1zCe_aurfFa8Tb3BnSQPMSZEl6-Czc1kluYWI12olOrg/w400-h265/Woodchester%20Boathouse.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Woodchester Park Boathouse</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />Aged Wooden Shakes is the fifth topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice.<p></p><p>I searched locally for wooden shakes (roof tiles), I couldn’t find any, so I made do with tile-stones (a traditional roofing material that can look more like wood than stone).</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiosmgLx9kW9j8XpDNYiFXVAYfoiCLJVWoyz4E72xy7wrqr5KTI_WlzgoatyRYBOubnAoMeV80xmzGAqeLvPvCvI1vlqcOlFFfTKEMHgRvRHKaEi3WUNgroZDOTjbLhVusvFQNZc3JywdYrmoQviMoFnhfwn5cdUyRFvxu6M3W-wsDSfCjY8BTvIkXXA/s1200/Slates1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="807" data-original-width="1200" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiosmgLx9kW9j8XpDNYiFXVAYfoiCLJVWoyz4E72xy7wrqr5KTI_WlzgoatyRYBOubnAoMeV80xmzGAqeLvPvCvI1vlqcOlFFfTKEMHgRvRHKaEi3WUNgroZDOTjbLhVusvFQNZc3JywdYrmoQviMoFnhfwn5cdUyRFvxu6M3W-wsDSfCjY8BTvIkXXA/w400-h269/Slates1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Stone Shed</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />I applied some texture to the tiles using natural sponges (I've used the technique before with stone, see <a href="https://learningtodrawlearningtosee.blogspot.com/2021/02/volcanic-rock.html" target="_blank">Volcanic Rock</a>, <a href="https://learningtodrawlearningtosee.blogspot.com/2021/04/marble.html" target="_blank">Marble</a> and <a href="https://learningtodrawlearningtosee.blogspot.com/2021/05/sandstone.html" target="_blank">Sandstone</a>). The dark background tone of the shed roof and ivy made it difficult to add texture in watercolour. Lesson learnt, I initially painted the boathouse roof lighter than the tone I was aiming for, so the texture is more noticeable and the resulting tone is more accurate. Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-22302385892063323982023-01-08T18:25:00.000+00:002023-01-08T18:25:20.538+00:00Polperro Cottages<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6m3JgbNWfJqXd9awunbSSpvoVxbZwvt8shXbHi6BbkqU2gb38U8bRaMlM-ocbSbgIZcoqnMCoT1XJQy8OU51SJM7k9eNilaHqpX2fj81tqzhVcA7N5x8Rj2_bmn1bwg_X9b1yXCW5DIHXoYhbCFEAiW2u6gF00CIwV2xXUX4ayFQRmbWPg94y2Mbww/s1200/Polperro%20(blog).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="794" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6m3JgbNWfJqXd9awunbSSpvoVxbZwvt8shXbHi6BbkqU2gb38U8bRaMlM-ocbSbgIZcoqnMCoT1XJQy8OU51SJM7k9eNilaHqpX2fj81tqzhVcA7N5x8Rj2_bmn1bwg_X9b1yXCW5DIHXoYhbCFEAiW2u6gF00CIwV2xXUX4ayFQRmbWPg94y2Mbww/w400-h265/Polperro%20(blog).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Polperro Cottages</b><br />Watercolour on Paper<br />15.5cm x 23.5cm (6" x 9.25")</td></tr></tbody></table><br />Last summer, Elaine, Doris and I spent a few days in Talland Bay, Cornwall to celebrate my birthday. It's a short walk along the costal path to Polperro in one direction and Looe in the other.<p>We all enjoyed the walk to and from Polperro, but our walk to Looe was less successful. It was a scorching hot day and Doris insisted on a taxi ride home (see <a href="https://learningtodrawlearningtosee.blogspot.com/2022/07/holiday-sketches.html" target="_blank">Holiday Sketches</a>).</p><p>Polperro is photogenic, but my photos didn't capture exactly what I wanted to paint. Some 7cm x 10cm thumbnails helped to explore and improve a composition. The initial pencil thumbnail was useful for deciding on the placement and configuration of shapes. It would have been handy if it had also given a definitive statement about dark, light and mid-toned shapes (see <a href="https://www.johnlovett.com/thumbnail-sketches" target="_blank">John Lovett - Thumbnail Sketches</a>). I will include a 3 value tonal study when I next use thumbnails.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgStbU2ds8qlfKSCB7xuM2dO0nqHJAxPKSDl7RDuiBdr-qI6KYQWGLqCKrXeLbqaYwPqkpx5tQ0NZecNUtnpeII3eoBDIXujxOjvLYpvsOmbE7tmIVtClFLqH6N1V7RSO25qwCVIaxbcrawUZMONW8J-KyGp0cqFinuryJE6fHaTqkr2dg6RJCZ_IIA/s1200/Polperro%20(thumbnails).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="849" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgStbU2ds8qlfKSCB7xuM2dO0nqHJAxPKSDl7RDuiBdr-qI6KYQWGLqCKrXeLbqaYwPqkpx5tQ0NZecNUtnpeII3eoBDIXujxOjvLYpvsOmbE7tmIVtClFLqH6N1V7RSO25qwCVIaxbcrawUZMONW8J-KyGp0cqFinuryJE6fHaTqkr2dg6RJCZ_IIA/w283-h400/Polperro%20(thumbnails).jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Polperro Cottages – 7cm x 10cm (2.75" x 4") Thumbnail Sketches</b><br />Pencil and Watercolour on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><br />The painting respects the spirit of the thumbnails except for the colour of the water. I prefer the turquoise in the second thumbnail, but if I try to adjust the painting, there is a chance I will spoil the reflections, so I will stick with what I have.<p></p><p></p><p></p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-64749732159011775452022-12-24T15:56:00.000+00:002022-12-24T15:56:29.878+00:00Happy Christmas 2022<p style="text-align: center;"><span style="font-family: Architects Daughter; font-size: x-large;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_sDUZG-rZU9b_LkzU3SkIPFUoACvQ-llIiQrPJqrmoQ0f2JTEjNV7mWtTnWo7k5JHb_HUD5O8tIRrKNc5wXi_7Ux8n58m-hC-RIocnXhvh0V4PpmVfenPNppvttbqAacqKTPNRXCA1GRfV2tPJeFmG1N7zyhfQwxH_hKRW5CJvJKr15dd6TwIVD6uA/s1200/Snowy%20Christmas%20Tree%20(for%20blog).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="702" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ_sDUZG-rZU9b_LkzU3SkIPFUoACvQ-llIiQrPJqrmoQ0f2JTEjNV7mWtTnWo7k5JHb_HUD5O8tIRrKNc5wXi_7Ux8n58m-hC-RIocnXhvh0V4PpmVfenPNppvttbqAacqKTPNRXCA1GRfV2tPJeFmG1N7zyhfQwxH_hKRW5CJvJKr15dd6TwIVD6uA/w234-h400/Snowy%20Christmas%20Tree%20(for%20blog).jpg" width="234" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Snowy Christmas Tree</b><br />Watercolour on Paper<br />26cm x 15cm (10.25" x 6")</td></tr></tbody></table><span style="font-family: Architects Daughter; font-size: x-large;"><br /><div style="text-align: center;">Wishing You Peace and Happiness for Christmas and the New Year</div></span><p></p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-37043846697858840362022-12-11T17:08:00.003+00:002023-01-29T20:03:51.261+00:00Drawing and Painting the Landscape – Monochrome Study<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIF7-Eu1eveGUTgYX7Yhc0aVxihbVQlNOLAzxzsXBZOSOMm8x9bRxAc0Xo8WJAuLLcs0IZnzarZ3cr5uheyGB0MOhNAvSLvIH9vOFc6iW1SiSoZCHpFMSh6k0wjaN4dXaXnu0HAKC_JyXTfCfdvjH_3cXfg3J0wvpbITNcGJ5j9jBZgBcl78ACK1D28Q/s1200/Boats%20on%20the%20Dart%20(Monochrome).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="795" data-original-width="1200" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIF7-Eu1eveGUTgYX7Yhc0aVxihbVQlNOLAzxzsXBZOSOMm8x9bRxAc0Xo8WJAuLLcs0IZnzarZ3cr5uheyGB0MOhNAvSLvIH9vOFc6iW1SiSoZCHpFMSh6k0wjaN4dXaXnu0HAKC_JyXTfCfdvjH_3cXfg3J0wvpbITNcGJ5j9jBZgBcl78ACK1D28Q/w400-h265/Boats%20on%20the%20Dart%20(Monochrome).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Moorings on the Dart<br />Monochrome Study - Drawing and Painting the Landscape</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />Chapter 7 of <a href="https://www.amazon.co.uk/Drawing-Painting-Landscape-course-lessons/dp/1785003240" target="_blank">Drawing and Painting the Landscape</a> by<a href="https://philip-tyler-artist.squarespace.com/" target="_blank"> Philip Tyler</a> is about painting. Philip provides an introduction to a variety of media and techniques. The first is watercolour which he suggests is a big mistake for beginners because:<p></p><blockquote><p>Watercolour is the most difficult painting medium to use well as it is unforgiving, allowing you little room for error.</p></blockquote><p>He also points out:</p><blockquote><p>It is a good idea to create a crisp linear drawing to establish the placement of the key elements of the landscape. </p></blockquote><p>This advice made me realise I’ve let my drawing practice slip and I need to do something about it.</p><p>Lesson 35 is a monochrome study in watercolour. Phillip recommends monochromes as a way to get started with watercolour while avoiding the additional complexity of having to think about colour.</p><p>The exercise is similar to Lesson 18 <a href="https://learningtodrawlearningtosee.blogspot.com/2020/11/drawing-and-painting-landscape-wash.html" target="_blank">Wash Media</a>, but in watercolour instead of ink. It provided an opportunity to experiment with the composition and approach for two pictures I am planning to paint. In both of them, I overdid the masking fluid and applied it too clumsily – lesson learnt.</p><p>The study of the boats on the Dart helped me to work out how to build up the layers of the landscape and how to paint the distant background..</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxUEGR0BRq1aG_N_A_b-iKCF1eMT0rLFgVNJJJSL0FKwJ0M6GBkg5FpPZostVqdexiHKnofUnRknri-ZtyznIKZDXZcNX6bDS0qs9_6Aet9gEEJgPLrz7tZAau7NnxD9wJBKJhn9TfKQGxzNN2_pYMb7l9H3QyDsmfxJIDwpctO9lVUGNbVIvK04cGA/s1200/Tree%20Tunnel%20(Monochrome).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="799" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxUEGR0BRq1aG_N_A_b-iKCF1eMT0rLFgVNJJJSL0FKwJ0M6GBkg5FpPZostVqdexiHKnofUnRknri-ZtyznIKZDXZcNX6bDS0qs9_6Aet9gEEJgPLrz7tZAau7NnxD9wJBKJhn9TfKQGxzNN2_pYMb7l9H3QyDsmfxJIDwpctO9lVUGNbVIvK04cGA/w400-h266/Tree%20Tunnel%20(Monochrome).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Tree Tunnel - Westonbirt<br />Monochrome Study - Drawing and Painting the Landscape</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td><td class="tr-caption"><br /></td><td class="tr-caption"><br /><br /></td></tr></tbody></table><br />I wasn’t sure the tree tunnel would work without a lot of painstaking detail. The monochrome has persuaded me it will<p></p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-50195994452470842532022-11-27T16:58:00.001+00:002022-11-27T17:16:51.174+00:00Aged Fencing<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHojI0JsGqA6q4jZmFaFIGBx4y9-yN5a1jWNdSh0d_XwytbYkwZN6BMfJDbnqyKtiuZtkbZzTEMsKq8AD09h5asGjb2Vp4VSkSApy3qDUNr0eEqqSDr0qpjUcwvNAO8gK2mCkGW1Z69GeAIpUlCRVI_Xf5SWEyABTkRrSz5Qv220GdT-8qqeR_hl5DvQ/s1200/Stile%20Finished.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="798" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHojI0JsGqA6q4jZmFaFIGBx4y9-yN5a1jWNdSh0d_XwytbYkwZN6BMfJDbnqyKtiuZtkbZzTEMsKq8AD09h5asGjb2Vp4VSkSApy3qDUNr0eEqqSDr0qpjUcwvNAO8gK2mCkGW1Z69GeAIpUlCRVI_Xf5SWEyABTkRrSz5Qv220GdT-8qqeR_hl5DvQ/w266-h400/Stile%20Finished.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Aged Fencing is the fourth topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank"> Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>You can see the preparation for this and the first step of the paining in <a href="https://learningtodrawlearningtosee.blogspot.com/2022/10/thumbnail-sketches.html" target="_blank">Thumbnail Sketches</a> and <a href="https://learningtodrawlearningtosee.blogspot.com/2022/11/a-fuzzy-background.html" target="_blank">A Fuzzy Background</a>.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTEF5zh7sUg2R8UOo9occ6v4XFfW4-qvdrTjWBdJ3fGG1iTidCTBEVYIR-PiSLJEYmPM21aO-1WY1brJI46fV-rZVWe_xNgILsX9fFgdCqLNFAJ6mbjK89da9Q-HozuVO5ykiOsZY_xJH84T9rFyRj9ny4aeAzCkJFBQWN0X_JUyZIMUIn_u4GqfTQA/s1200/Decaying%20Fencing.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTEF5zh7sUg2R8UOo9occ6v4XFfW4-qvdrTjWBdJ3fGG1iTidCTBEVYIR-PiSLJEYmPM21aO-1WY1brJI46fV-rZVWe_xNgILsX9fFgdCqLNFAJ6mbjK89da9Q-HozuVO5ykiOsZY_xJH84T9rFyRj9ny4aeAzCkJFBQWN0X_JUyZIMUIn_u4GqfTQA/w300-h400/Decaying%20Fencing.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Decaying Fencing</b></td></tr></tbody></table><br />The fence post in the main reference photo wasn’t as old as I wanted, so I enhanced it with some elements from this one. Combining bits from multiple images is an important part of painting from photographs.Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-66745783644467800342022-11-13T15:06:00.001+00:002023-01-20T09:07:36.813+00:00A Fuzzy Background<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0u-xH9hDMemAmrA2NqluiUb9_aXfS11oZ9CjDeeXhUmaUB0w_jZ27XuWufEP9QsXjIqlrbHQ-O_bgvg1zR3nTvmGXEXCPSyesBgFo4XcHM1Ndo7EQGXHee_y6fn-m4d4uijEHO55CdnT2H1OnusgEt7Ax7ZZ9wD184Y_8I5CPqpxsEv7VXBO-TNAsoQ/s1200/Slightly%20Fuzzy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="846" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0u-xH9hDMemAmrA2NqluiUb9_aXfS11oZ9CjDeeXhUmaUB0w_jZ27XuWufEP9QsXjIqlrbHQ-O_bgvg1zR3nTvmGXEXCPSyesBgFo4XcHM1Ndo7EQGXHee_y6fn-m4d4uijEHO55CdnT2H1OnusgEt7Ax7ZZ9wD184Y_8I5CPqpxsEv7VXBO-TNAsoQ/w283-h400/Slightly%20Fuzzy.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing - A Fuzzy Background - 26.5cm x 19cm (10.5" x 7.5")</b><br />Watercolour on Paper</td></tr></tbody></table><br />Claudia Nice uses soft focus backgrounds for both her examples from the Aged Fencing topic in <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a>.<p></p><p>This type of background is usually painted wet-on-wet. The challenge is if you try to paint around the foreground shapes, it is difficult to create a cohesive backdrop. Some people can do this, but I’ve ended up with sections that look like they come from different paintings. </p><p>A popular solution is to mask the foreground shapes so you can paint over them. Recently, Steve Mitchell (the <a href="https://www.youtube.com/c/mindofwatercolor" target="_blank">Mind of Watercolor</a>) demonstrated how he does this with a combination of masking tape and masking fluid (see <a href="https://www.youtube.com/watch?v=NTpTZUZ_PA8&t=295s" target="_blank">https://www.youtube.com/watch?v=NTpTZUZ_PA8&t=295s</a>)</p><p>The technique worked well for Steve, so I gave it a go. I scaled up the thumbnail from the top of <a href="https://learningtodrawlearningtosee.blogspot.com/2022/10/thumbnail-sketches.html" target="_blank">Thumbnail Sketches</a>, masked off the stile, fence and some foreground foliage, so it looked like this.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicLTgK8QnN5xUQWZxIesg9uYqON0ZN-QN6VEMn4j7F1UzIfMInV8A_3fAfdE0etkAAfKha3iM9yHJ-3SnLETNdEM5Mz_bzK-Asym3tm06SgLlVZevrmpUT_Z78kr0nc800-kKH5QnG8_O8xdfuu5QYFDF6Mrf-8TbPB5IisgVWpEAvMx1O23yJpPBLNw/s1200/Slightly%20Fuzzy%20-%20masked.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="836" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicLTgK8QnN5xUQWZxIesg9uYqON0ZN-QN6VEMn4j7F1UzIfMInV8A_3fAfdE0etkAAfKha3iM9yHJ-3SnLETNdEM5Mz_bzK-Asym3tm06SgLlVZevrmpUT_Z78kr0nc800-kKH5QnG8_O8xdfuu5QYFDF6Mrf-8TbPB5IisgVWpEAvMx1O23yJpPBLNw/w279-h400/Slightly%20Fuzzy%20-%20masked.jpg" width="279" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing - All Masked Up - 26.5cm x 19cm (10.5" x 7.5")</b></td></tr></tbody></table><br /><div>Once the masking fluid was dry, I painted the background over it, left it to dry and then removed the masking to leave the slightly fuzzy setting for the fence - all I have to do now is paint the difficult stuff. </div>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-29392286766466177012022-10-30T18:29:00.001+00:002023-01-06T10:41:19.158+00:00Thumbnail Sketches<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUCeBuEO3yT_iPD8TzTlJFBXDT2f02g2qXOnGCnYuqiW-lgN3U7wj54U7oJJ105XtG9MknHdKXT4oXZIvIir2AWSoWW_F2vAmdCpvEKsc-QNDDADIcB_bS1QWckZ4CCZFUT-Q8N1FC9aUNM9u5TejRN-8_ypu9nxftcjahYkZHwv2HKDO0hRiZC9_Lw/s1200/Style2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="861" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIUCeBuEO3yT_iPD8TzTlJFBXDT2f02g2qXOnGCnYuqiW-lgN3U7wj54U7oJJ105XtG9MknHdKXT4oXZIvIir2AWSoWW_F2vAmdCpvEKsc-QNDDADIcB_bS1QWckZ4CCZFUT-Q8N1FC9aUNM9u5TejRN-8_ypu9nxftcjahYkZHwv2HKDO0hRiZC9_Lw/w288-h400/Style2.jpg" width="288" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing - Preliminary Thumbnail Sketch - 15cm x 10cm (6" x 4")</b><br />Ink and Pencil on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><br />Many art teachers and authors stress the importance of using quick thumbnail sketches to check and improve a composition before investing too much time and material in a painting that is doomed to fail – (see <a href="https://www.johnlovett.com/thumbnail-sketches" target="_blank">John Lovett - Thumbnail Sketches</a>).<p></p><p>I used this approach recently while preparing for the Aged Fencing topic in <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice.</p><p>Over the summer, I collected a load of reference photos while out walking with Elaine and Doris. </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtbS9uAaaPa4dmB4q7Wka71f5aX918gGZLWNvDYQ18_S1LDRVgSlva8gm8FyHFXb5tA2n6olLNycLyyWMWFqjBkvtQ-vsMgGkUh2YCkqRHf6dvk453SVhFs0--kg5vUizr9Lvou1nehMeVwGAJJ0bjN1rkpi-OS5jn1TwcUvEmpnWv8_JcB2qjlLfN2A/s1200/Aged%20Fencing.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtbS9uAaaPa4dmB4q7Wka71f5aX918gGZLWNvDYQ18_S1LDRVgSlva8gm8FyHFXb5tA2n6olLNycLyyWMWFqjBkvtQ-vsMgGkUh2YCkqRHf6dvk453SVhFs0--kg5vUizr9Lvou1nehMeVwGAJJ0bjN1rkpi-OS5jn1TwcUvEmpnWv8_JcB2qjlLfN2A/w300-h400/Aged%20Fencing.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing</b></td></tr></tbody></table><br />This stile has the makings of an interesting subject, but the composition can probably be improved. I drew a couple of simple thumbnails to explore some ideas using a rectangle with the same proportion as the paper I will paint on. <br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDsinuZb9YpKDPFtO_JJ4goQn39qOOeUlE8cfV8sp6Xct3vALsfUr92Oy0UawivLX4VPu3loHtEt0OvEaGF4qCOtgh4r40jD3YTaIFoMBW5v4kUgiU9OtyyOnbcithz4WKpzQDykfCaPVOnbWHhzgD303Tri_r0TCMa7la5-ylkwzf71JmLw9eIZr2ng/s1200/Style.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="651" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDsinuZb9YpKDPFtO_JJ4goQn39qOOeUlE8cfV8sp6Xct3vALsfUr92Oy0UawivLX4VPu3loHtEt0OvEaGF4qCOtgh4r40jD3YTaIFoMBW5v4kUgiU9OtyyOnbcithz4WKpzQDykfCaPVOnbWHhzgD303Tri_r0TCMa7la5-ylkwzf71JmLw9eIZr2ng/w400-h217/Style.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Aged Fencing - Preliminary Thumbnail Sketch - 7.5cm x 5cm (3" x 2")</b><br />Ink on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><br />Thumbnail sketches are also a good way to find the challenges in the drawing. These highlighted the importance of perspective on the step. If the step is out of whack, it upsets the whole picture.<p></p><p>I drew the slightly larger version at the top of the page to finalize the composition and to think about the tones in the picture. I will do a couple of simple colour studies before starting to paint.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-76435996090263367212022-10-16T16:32:00.201+01:002022-10-16T16:32:00.213+01:00Drawing and Painting the Landscape – Format<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyC_LX6RP6gqUvjw9yMDfIRfVZr4x1yzyMBeb_Wjta1sEOwHG9Be3MXHLrJJLv56ASm7dokm9XzvVG2FvCVpDjpALyBqX1NQrdtJ8peNUWAcpaJDvbu9glb2XXSewBb9u3ZeKlWltK83_-z_RFmixr2imKWmkMVZF53Qja6ToBvkjZnVVNHzDceTU3yA/s600/Shapes9.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyC_LX6RP6gqUvjw9yMDfIRfVZr4x1yzyMBeb_Wjta1sEOwHG9Be3MXHLrJJLv56ASm7dokm9XzvVG2FvCVpDjpALyBqX1NQrdtJ8peNUWAcpaJDvbu9glb2XXSewBb9u3ZeKlWltK83_-z_RFmixr2imKWmkMVZF53Qja6ToBvkjZnVVNHzDceTU3yA/w400-h200/Shapes9.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Composition for Parkmill Pond (1:2)</b></td></tr></tbody></table><br />Lesson 34 of <a href="https://www.amazon.co.uk/Drawing-Painting-Landscape-course-lessons/dp/1785003240" target="_blank">Drawing and Painting the Landscape</a> by <a href="https://philip-tyler-artist.squarespace.com/" target="_blank">Philip Tyler</a> is a the last lesson in the chapter on Composition. Phillip starts by pointing out:<p></p><blockquote><p>Changing the format of your image can have a profound impact on your work.</p></blockquote><p>He urges:</p><blockquote><p>Don’t fall into the trap of complacency, stretch yourself, challenge how you approach the composition of the landscape.</p></blockquote><p>He goes on to suggest a number of ways to train your compositional muscles, but doesn’t suggest a specific exercise. One of his first suggestions is to cut up an image so you can see all the positive and negative shapes because:</p><blockquote><p>Often, good composition is a way of ensuring that each shape in your image is interesting and different, yet their overall effect is to create harmony through the opposition of different forces.</p></blockquote><p>As an exercise I decided to break a photo into shapes and use them as the basis for a composition.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqqt4X5ZUh7cUypoKYS4rKerSTSr5vwAryFose9l3qq7i1IJwiRGTTdxhz2vzIRpWFAsBtfGsX5C-fVebpqqF4wNnDKca8vVVZZJ3O2rHF2eKSSTHVUgu0B9fnHxQ54qGzlReGVuHeP9hAuD-0WZbEmaGgC75UxZgXXvo2gvL2Fkxjze_UHi4SavVvzg/s1200/Parkmill%20Pond.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqqt4X5ZUh7cUypoKYS4rKerSTSr5vwAryFose9l3qq7i1IJwiRGTTdxhz2vzIRpWFAsBtfGsX5C-fVebpqqF4wNnDKca8vVVZZJ3O2rHF2eKSSTHVUgu0B9fnHxQ54qGzlReGVuHeP9hAuD-0WZbEmaGgC75UxZgXXvo2gvL2Fkxjze_UHi4SavVvzg/w400-h225/Parkmill%20Pond.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Parkmill Pond, Woodchester Park</b></td></tr></tbody></table><br />This is Parkmill Pond in Woodchester Park.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyw2k5650PLjFcY6XXJkTcrNPM-g9ZVTSdb0xZfhbHzpCqhcxRwJy-YNQWiLf6WPAABPIby7UVy6HpnmAuMbhwWxgfqbh82MZcMXUaKX_-jn321WiVQ8CrqbxXL3gDKLwXWHZp9ZM89NCVlClV0m5cMSiV6st2tUX53hv31MRXXCQw-snqZWN_LwVfg/s1200/Shapes.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyw2k5650PLjFcY6XXJkTcrNPM-g9ZVTSdb0xZfhbHzpCqhcxRwJy-YNQWiLf6WPAABPIby7UVy6HpnmAuMbhwWxgfqbh82MZcMXUaKX_-jn321WiVQ8CrqbxXL3gDKLwXWHZp9ZM89NCVlClV0m5cMSiV6st2tUX53hv31MRXXCQw-snqZWN_LwVfg/w400-h225/Shapes.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Parkmill Pond (17 Shapes)</b></td></tr></tbody></table><br />My first attempt at identifying shapes, resulted in 17 shapes. The frilly foreground overlaps the objects behind it, dividing them into multiple small shapes. This is too many - <a href="http://hoffmannwatercolors.com/" target="_blank">Tom Hoffman</a> suggests a maximum of 10 shapes in the <a href="https://learningtodrawlearningtosee.blogspot.com/2016/10/five-value-monochrome-study.html" target="_blank">Five-Value Monochrome Study</a> from his <a href="https://www.amazon.co.uk/Watercolor-Painting-Tom-Hoffmann/dp/0823006735" target="_blank">Watercolor-Painting</a>. <p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYE0RbLBhYkFq94xOzA5B6RW_ymJov85DuCEl75PpHeAl7QwxX3sbRYVy4m6bxQoR43es2E_R1lyYFoWbDYAwDB-fQBS08NYZkedredO5We4hPiEhxfQVt2TARmDVeblo9PKi99xnZvVZO06JFjJAJITqoTkIBmdQHZkIGj5EAM7rdKLP1WW7duUARiw/s1200/Shapes2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYE0RbLBhYkFq94xOzA5B6RW_ymJov85DuCEl75PpHeAl7QwxX3sbRYVy4m6bxQoR43es2E_R1lyYFoWbDYAwDB-fQBS08NYZkedredO5We4hPiEhxfQVt2TARmDVeblo9PKi99xnZvVZO06JFjJAJITqoTkIBmdQHZkIGj5EAM7rdKLP1WW7duUARiw/w400-h225/Shapes2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Parkmill Pond (10 Shapes)</b></td></tr></tbody></table><br />Simplifying the foreground shape, reduces the overall shape count to 10. I plan to paint the foreground grasses overlapping the water, but these are adornments. The "bulk" of the foreground shape is the simpler object in this second picture.<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVS1fTdgoWj3s-6wXOJV6ZHhtsEqVWYg-_lYT7yaJI_lJM3wlAjX2R-Sdok6qnQ14lH88k1uWXygUQGigEzJnMpNiT8na3naDTw4pGPTuK7Sd9O0sr-8ykqmnCVZYaeFly3vqWuFMNUZAFGNY6uMSLc95kMGXXzshTxg8PEDInqKRH3ppYw7IDkQv4Eg/s1200/Shapes3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="959" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVS1fTdgoWj3s-6wXOJV6ZHhtsEqVWYg-_lYT7yaJI_lJM3wlAjX2R-Sdok6qnQ14lH88k1uWXygUQGigEzJnMpNiT8na3naDTw4pGPTuK7Sd9O0sr-8ykqmnCVZYaeFly3vqWuFMNUZAFGNY6uMSLc95kMGXXzshTxg8PEDInqKRH3ppYw7IDkQv4Eg/w400-h320/Shapes3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Parkmill Pond - Separating the Shapes</b></td></tr></tbody></table><br />Separating the shapes shows they are interesting and varied, but they are predominately horizontal - they don't provide any contrast between horizontal and vertical. My plan is this tension will come from the rendering of the shapes. There will be lots of vertical lines to suggest the textures in the grasses, trees and reflections.<p></p><p>After identifying the shapes, the next step was to answer two compositional questions:</p><p></p><ul style="text-align: left;"><li>What format to use for the picture?</li><li>What is the focus / centre of interest?</li></ul><p></p><p>Towards the end of the lesson, Phillip suggests:</p><p></p><blockquote>By limiting yourself, maybe to a particular format or a particular use of media, you can begin to clarify your intention, to know what you want to say.</blockquote><p></p><p>My initial format choice was 7 by 10 because I paint in water-based media (watercolour, acrylic and gouache) and I have two Arches watercolour blocks (a small and a large one) both with proportions of 7 by 10.</p><p>What is the centre of interest? There is a tower (“The Tower”) tucked away in the background trees, but this is a painting about the lake, so the patch of bright water towards the rear of the lake makes a good focal point.</p><p>I investigated a number of ways to resize the image to 7 by 10:</p><p style="text-align: left;"></p><ul style="text-align: left;"><li>Just squashing it all in</li><li>Various zooms and crops</li></ul><p></p><p>I also explored the position of the bright patch of water using a rule of thirds grid and a phi grid (see <a href="https://learningtodrawlearningtosee.blogspot.com/2022/06/drawing-and-painting-landscape-rule-of.html" target="_blank">Drawing and Painting the Landscape – Rule of Thirds</a>)</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVv-LEvgAdHXRYyCQU5J5o7Fn8CwMlZNtvrCf7Ox_yXbXeTWKVsRL78PFJT-ull32s5WbzjPit0M7O6pOWhqMAVC0-1hyIIA55ib7EgVMheM0G96KJdQ6c_MM5gdgbfpOmvN0UdJr1NwysVUzmql6xG572gE9-z5p0A3M3S04f7Lvr89jWwy1Et_GAaQ/s593/Shapes8.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="416" data-original-width="593" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVv-LEvgAdHXRYyCQU5J5o7Fn8CwMlZNtvrCf7Ox_yXbXeTWKVsRL78PFJT-ull32s5WbzjPit0M7O6pOWhqMAVC0-1hyIIA55ib7EgVMheM0G96KJdQ6c_MM5gdgbfpOmvN0UdJr1NwysVUzmql6xG572gE9-z5p0A3M3S04f7Lvr89jWwy1Et_GAaQ/w400-h280/Shapes8.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Composition for Parkmill Pond (7:10)</b></td></tr></tbody></table><br />After a bit of tinkering, this is the result. I prefer the 1 by 2 version at the top of the post. There are some landscapes, probably those with mainly horizontal shapes, that I think look better in a more panoramic format. I've decided to limit myself to 3 formats for watercolour paintings: 7:10, 1:1 and 1:2. I chose 1:1 and 1:2 because they are simple to measure and they seem to work well for some subjects (see <a href="https://learningtodrawlearningtosee.blogspot.com/2022/05/drawing-and-painting-landscape-root.html" target="_blank">Drawing and Painting the Landscape – Root Rectangles</a>).<p></p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-60838705858883469492022-09-25T21:39:00.002+01:002023-01-20T09:09:10.984+00:00Weathered Wood ~ Old Paint<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmPYttEWtihYtoUipjykuoJtGtOD8-17YesDTzjuKB5LV1kSjSP55r1vuITo3-QvgGTzHOMlkxOOmLsSBLkEX9-NZe0Fqeq9UOCu9LkIlwPR_3ug2LAalsH7-ylHhDBQLQ4Cky41CW1zv_16_ExTxOLyyv8KsVOZCoPum0YWG84l-lHDjKqNCteIsqfA/s1200/Something%20in%20the%20Woodshed.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="782" data-original-width="1200" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmPYttEWtihYtoUipjykuoJtGtOD8-17YesDTzjuKB5LV1kSjSP55r1vuITo3-QvgGTzHOMlkxOOmLsSBLkEX9-NZe0Fqeq9UOCu9LkIlwPR_3ug2LAalsH7-ylHhDBQLQ4Cky41CW1zv_16_ExTxOLyyv8KsVOZCoPum0YWG84l-lHDjKqNCteIsqfA/w400-h261/Something%20in%20the%20Woodshed.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Something in the Woodshed</b><br />Watercolour on Paper<br />16.5cm x 24cm (6.5" x 9.5")</td></tr></tbody></table><br />“Weathered Wood ~ Old Paint” is the third topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>You probably imagine the world is full of slowly decaying painted wood. I did, until I started looking for some to paint - then it all disappeared. I struggled until Elaine, Mum, Doris and I dropped into <a href="https://www.thecanteennailsworth.com/">The Canteen</a> for lunch. There were some great examples in their courtyard, but finding a subject was only the first challenge. This was tricky. It gave me a lot to think about.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-50639966996065404832022-08-21T23:26:00.000+01:002022-08-21T23:26:02.405+01:00Drawing and Painting the Landscape – Compositional Principles<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxfhg-lkfgHMRH0v1w-HKqKgvE-eUVzIVDmL7X-zQ9JKqtO7-hvxWN5ube1CxxNCfaSkqB9s9IZl0h649iPXktOyRs2YVjkK0ziGd9HWR1UfX-P9gn9UjmpsTWIMnvBJwo8V-sPMT2CwV2QVh-gRGqDSGR75l67y_NlaIU8WhjaRuslhxcrX149dVTw/s855/Tumbnails6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="615" data-original-width="855" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFxfhg-lkfgHMRH0v1w-HKqKgvE-eUVzIVDmL7X-zQ9JKqtO7-hvxWN5ube1CxxNCfaSkqB9s9IZl0h649iPXktOyRs2YVjkK0ziGd9HWR1UfX-P9gn9UjmpsTWIMnvBJwo8V-sPMT2CwV2QVh-gRGqDSGR75l67y_NlaIU8WhjaRuslhxcrX149dVTw/w400-h288/Tumbnails6.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Farm Cottages - Latest Thumbnail - 7cm x 10cm (2.75" x 4")<br />Compositional Principles - Drawing and Painting the Landscape</b><br />Ink and Watercolour on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><br />The bulk of Lesson 33 of <a href="https://www.amazon.co.uk/Drawing-Painting-Landscape-course-lessons/dp/1785003240" target="_blank">Drawing and Painting the Landscape</a> by <a href="https://philip-tyler-artist.squarespace.com/" target="_blank">Philip Tyler</a> is a review of <a href="https://ruskinmuseum.com/who-was-john-ruskin-1819-1900/" target="_blank">John Ruskin</a>’s 9 laws of composition from <a href="https://www.amazon.co.uk/Elements-Drawing-John-Ruskin/dp/0486227308" target="_blank">The Elements of Drawing</a>:<p></p><p></p><ul style="text-align: left;"><li>Principality</li><li>Repetition</li><li>Continuity</li><li>Curvature</li><li>Radiation</li><li>Contrast</li><li>Interchange</li><li>Consistency</li><li>Harmony</li></ul><p></p><p>Phillip sneaks in a couple of extras. Stillness might be accepted unchallenged, but Photo Manipulation isn’t getting on to a list published in 1857.</p><p>The exercise for the lesson involves taking as many different photos of a subject as possible and then making a series of compositional studies. </p><p>I selected some local cottages and took a load of photos. My initial experiments concerned the placement of the major horizontal divisions. I tried a few different arrangements before settling on the first one; which is often the way. The next step was a small thumbnail to explore where the buildings fitted into this schema and some initial ideas about tone. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrG5H9LMAZOe8ycuUUGjVQagdGqzhoJmb0WYshHvQWShdmRR7QYrLUI5z4k_IilStO8ORFnSqMfMBa9J5DawkYrJIjtcteBdma_k4NUTSCqT2S21Aop4N6Ij-2i3XQ9ie4bJzwDusAgmslDwFR_-BkG3a9k7UwWxYp0qmLs2Zr2R2BBE1rDOlsSdkTA/s1368/Tumbnails4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="1368" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrG5H9LMAZOe8ycuUUGjVQagdGqzhoJmb0WYshHvQWShdmRR7QYrLUI5z4k_IilStO8ORFnSqMfMBa9J5DawkYrJIjtcteBdma_k4NUTSCqT2S21Aop4N6Ij-2i3XQ9ie4bJzwDusAgmslDwFR_-BkG3a9k7UwWxYp0qmLs2Zr2R2BBE1rDOlsSdkTA/w400-h170/Tumbnails4.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Farm Cottages - Initial Thumbnails - Each 3.5cm x 5cm (1.5" x 2")<br />Compositional Principles - Drawing and Painting the Landscap</b>e<br />Ink on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><p>Then I moved on to slightly bigger thumbnails to investigate the drawing, tones and colours. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Td_8jsXF-t7Qffey6nHuEvSct2Iwtoc3JzScWu9Bot-ZP11-5NyA9tF2i19QKoUyHpCqusnQ-oFOYUV7U716HQkHz7WAcKdv_Uw0IYj6yS8y2zeTGrJ8HFAFQhsWqPBo86y9b7wRPH5IDHNUI6k9Z6VK5n2cM-fIgTbDJDYYC6ynmoRUpTWTmKdrmA/s1130/Tumbnails2.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1130" data-original-width="520" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Td_8jsXF-t7Qffey6nHuEvSct2Iwtoc3JzScWu9Bot-ZP11-5NyA9tF2i19QKoUyHpCqusnQ-oFOYUV7U716HQkHz7WAcKdv_Uw0IYj6yS8y2zeTGrJ8HFAFQhsWqPBo86y9b7wRPH5IDHNUI6k9Z6VK5n2cM-fIgTbDJDYYC6ynmoRUpTWTmKdrmA/w184-h400/Tumbnails2.JPG" width="184" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Farm Cottages - Thumbnails - Each 7cm x 10cm (2.75" x 4")<br />Compositional Principles - Drawing and Painting the Landscape</b><br />Ink, Watercolour and Graphite on Paper<br />Stillman & Birn Alpha Series Sketchbook</td></tr></tbody></table><div>These studies didn't enthuse me, so I tried a few more small drawings to find a less central placement for the buildings.</div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJmF9EziZmWBEy5GJgHe9cXDxAWPkZjef13IRQWDIh38D9qderQkpGHo1czLhXl6DGaR5r5qTo9CWKuMjc-1yWoMOC8JBUcQkC7epjzFm758zhB3Doj5IHAb9uXR3j1MuaiLlNQNrZFbSYRrul_rcu_r5OnFOfhgOq7Ivw7NjjFrumwL1N5S7h8Jtcw/s714/Tumbnails7.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="486" data-original-width="714" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzJmF9EziZmWBEy5GJgHe9cXDxAWPkZjef13IRQWDIh38D9qderQkpGHo1czLhXl6DGaR5r5qTo9CWKuMjc-1yWoMOC8JBUcQkC7epjzFm758zhB3Doj5IHAb9uXR3j1MuaiLlNQNrZFbSYRrul_rcu_r5OnFOfhgOq7Ivw7NjjFrumwL1N5S7h8Jtcw/w400-h272/Tumbnails7.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Farm Cottages - Off-centre Thumbnails - Each 3.5cm x 5cm (1.5" x 2")<br />Compositional Principles - Drawing and Painting the Landscape</b><br />Ink on Paper<br />Stillman & Birn Alpha Series Sketchbook</td><td class="tr-caption"><br /></td></tr></tbody></table><p>The drawing at the top of the post investigates colour and tone for the repositioned buildings. I also plan to create some texture in the foreground and add some small flashes of bold colour in the focal point amongst the buildings.</p></div>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-43049278648845416602022-07-31T16:21:00.000+01:002022-07-31T16:21:39.262+01:00Polished Wood<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbMSEQACHoDQYW56cD6V0CQvgWJIoLB6IxKJ3R3W7EfpHoTBEMwc51CpK5-NK5wMESrff8AU4V5kaaETq12fK2xl0EWSeIDWs_vJV07UG7-JIzw1amlTqHx74wlSQqwz6nY0Qv154d5xBM-FOEy_wtXOu3Gr4DFr6smFYg76odw9S7juCw2eYh8jbeQ/s1200/Lamp%20Stand.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="807" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGbMSEQACHoDQYW56cD6V0CQvgWJIoLB6IxKJ3R3W7EfpHoTBEMwc51CpK5-NK5wMESrff8AU4V5kaaETq12fK2xl0EWSeIDWs_vJV07UG7-JIzw1amlTqHx74wlSQqwz6nY0Qv154d5xBM-FOEy_wtXOu3Gr4DFr6smFYg76odw9S7juCw2eYh8jbeQ/w269-h400/Lamp%20Stand.jpg" width="269" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>One of Many Lamps</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Polished Wood is the second topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. <p></p><p>Claudia observes that polished wood has similarities with shiny metal; it has strong value patterns and the possibility of reflected colours.</p><p>Our house came with a separate electric circuit for lamps, so we have a quite a few, most of them with lampshades made by Elaine.</p><p>The most difficult decision with the painting was what to do with the pattern in the lampshade. I decided it was best not to try too hard. </p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0tag:blogger.com,1999:blog-8990608427909175189.post-27861484893595593512022-07-17T12:54:00.000+01:002022-07-17T12:54:06.679+01:00Wood Grain<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBIDYmSL4ANiFOUd3MkQSgsXkxiTmZThNQVDSxZTz27NFPVZgcBnJ3XLq4H3ZnZhQiRab_4s54H-PIi4u6H_Lr-MMQ-TKe71ix_TpuyfHE8dUhVIzuuuqgDzFBI_CHNOo-v7ziDPK6QtXECrK6FJlIK0OgHfJVHZkCZr4PLKKIwjaUmf-gjO1Q_DkIQ/s1200/Easel.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="779" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBIDYmSL4ANiFOUd3MkQSgsXkxiTmZThNQVDSxZTz27NFPVZgcBnJ3XLq4H3ZnZhQiRab_4s54H-PIi4u6H_Lr-MMQ-TKe71ix_TpuyfHE8dUhVIzuuuqgDzFBI_CHNOo-v7ziDPK6QtXECrK6FJlIK0OgHfJVHZkCZr4PLKKIwjaUmf-gjO1Q_DkIQ/w260-h400/Easel.jpg" width="260" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Wooden Easel</b><br />Watercolour on Paper<br />24.5cm x 15.5cm (9.75" x 6")</td></tr></tbody></table><br />Wood Grain is the first topic in the Wood Grain Patterns chapter of <a href="https://www.amazon.co.uk/Creating-Textures-Pen-Ink-Watercolor/dp/1581807252" target="_blank">Creating Textures in Pen & Ink with Watercolor</a> by Claudia Nice. The topic includes some excellent swatches of different woods and their grain patterns.<p></p><p>Claudia recommends drawing the grain with a pen or a dry brush. Drawing the pattern in ink proved more difficult than I expected. My initial subject was a plate carved from a piece of Ash. This has a very delicate grain pattern that I couldn’t replicate. I couldn’t match the thinness of the lines or the lightness and variety of the colours. I am probably blaming my tools, but I think you need a collection of technical pens to draw accurate grain studies.</p><p>Lesson learnt - I chose the top of Dad's desk easel as my second subject. The grain pattern on this is less subtle and lent itself to be drawn with a brush rather than a pen. The main challenge was making the perspective believable - I had to draw it 5 or 6 times before it looked right.</p>Markhttp://www.blogger.com/profile/04006953027350082391noreply@blogger.com0