Archive | Painting in Stages RSS feed for this section

Painting of Todi

Alan Reed

Sketchbook Watercolour of Todi, Umbria

On our painting holidays in Italy we take our guests to the various hilltop towns that are a feature of Umbria. This sketchbook watercolour was painted on location in a picturesque town called Todi which we have been to on a number of occasions.

Using a combination of the sketchbook watercolour, this simple pen drawing and photographs I decided to paint the scene as a larger A4 Watercolour Painting of Todi on hand made deckled edged paper for one of my painting videos.

Alan Reed

Sketch book pen drawing of Todi, Umbria

I like the colours of this watercolour sketch of Colle di Val d’Elsa in Tuscany which are more autumnal so I  intensified the colours from the sketchbook watercolour. I remembered the time when we visited Todi in the autumn one year.

Alan Reed

Watercolour of Colle di Val d’Elsa, Tuscany

The first step after drawing out the scene in pencil was to wet the paper and get down a quick wash of Cadmium Lemon and Cadmium Yellow. This set the tone and mood for all the other colours. I kept the yellow light in the sky so that when I added the blue, it didn’t end up looking green. However, it is distinctly more intense over the buildings.

Next wash was Rose Madder. Again, I wet the sky to avoid hard edges and to create some lighter patches for the clouds. However the area where the buildings are was dry because I wanted a few areas of yellow to come through in places to create interest and variation.

I recently purchased some new brushes from Rosemary & Co so I used a size 14 Series 344 to apply some clean water up to the edges of the buildings so that when I painted the sky, the colour flowed freely up to the rooftops without me having to paint round them and run the risk of the paint drying to quickly and end up with streaky brush marks.

So using the same brush I painted in some French Ultramarine over different parts of the sky, allowing some of the Rose Madder to show through to represent cloud shapes.

As I was painting nearer the buildings, I switched blues to Manganese Blue which added further interest, fusing into the French Ultramarine. A tad more Rose Madder helped the whole blending process.

The same Rosemary & Co brush is great for this type of painting. I just worked my way around the different buildings, catching the surface of the paper at times so that the painting retained the fluidity of the sketchbook study. The darker Rose Madder colour that I painted at the start, suddenly didn’t look to dark when  up against the darker shadow colour.

This is where the brush came into its own, large enough to cover the bigger areas but having a fine enough point for detail.

A number 4 Rosemary & Co brush from the same series was required for some of the smaller shadow areas.

When the shadows areas dried, I started to work on even finer detail, picking out all the windows with a very dark mix of purple, Vandyke Brown and Paynes Grey.

I wasn’t being too fiddly with these details, just sufficient accuracy to represent the windows, eaves and chimneys.
Once I completed all these finer details, which took more than an hour, I brought the painting to conclusion by painting in the foliage to break up the interlocking shapes of all the buildings.

I mixed a nice green made up of Cadmium Lemon, Paynes Grey with possibly the smallest touch of Winsor Green.

Alan Reed

Watercolour Painting of Todi, Umbria

I was back to the size 14 again, this time using mainly the side of the brush rather than the point to represent lots of branches. I used a wet on dry technique, flicking the brush over the surface of the paper to create the effect of lots of foliage.

For the smaller areas of foliage I used the size 4 brush again, going in with a much deeper green, probably more Paynes Grey than green for the shadows. I used the same technique of dragging the brush to create texture.

If you would like to learn more about how to produce a Painting of Todi or similar, why not join us on one of our Painting Holidays in Umbria, Italy.

Watch the Video Painting of Todi here.

Visit www.alanreed.com or www.reedartholidays.com to find out more.

 

Comments { 0 }

Painting of Seaton Sluice

Alan Reed

Seaton Sluice Watercolour

Earlier this summer I painted a small sketchbook watercolour Painting of Seaton Sluice on location.

As well as being a family day out, it was a typical summers day in the north east, patches of blue sky with sunlight bursting through dark threatening clouds.

I decided to work the sketch up into a larger 14” x 10” studio painting on an Arches Watercolour Block which I made a video of showing the different stages. You can watch the video here on YouTube.

Alan Reed

Seaton Sluice Sketchbook Watercolour

As in the sketchbook watercolour I decided to keep the rooftops of some of the buildings white to indicate bright sunlight striking the surface. I could have used masking fluid but instead carefully painted around them using just clean water.

The water allows the first wash of Cadmium Lemon to flow quite freely around the areas I wanted to keep white so that the application of colour looks fresh and lively.

Whilst the yellow was still wet, I introduced some Raw Sienna to the party accompanied by the delightful Rose Madder for the sandy beach colours.

Again, I left a few areas of white for the waves and the sunlight dancing off the surface of the pools of water. The rough surface of the paper helped to suggest the highlights.

Using Manganese Blue, the next step was to paint in the transitory patches of blue sky that appear behind the darker clouds.

Once again, I’ve wet appropriate parts of the paper to create some soft edges to the blue and to allow this colour to flow with ease.

Whilst this was still wet, next another touch of Rose Madder to create a gentle purple just above the rooftops. Let it dry.

Now for the dangerous part! Using some purple and a mix of Paynes Grey and Lamp Black it was time to create some drama.

I wet the paper where I want the dark clouds to flow then dropped in this dark mix, pushing it about, catching the rough surface in places where the paper is dry to emphasis the cloud edges. Initially it looked really dark, but I knew it would dry lighter.

A touch of French Ultramarine helped to add further interest to the clouds. More clean water added variation to the density of the sky.

You will notice also on the video that I don’t paint over the areas of colour once I’ve applied them. Doing so tends to kill the translucency of the pigment and the wash looses its freshness. It’s best to live with the shapes you initially make rather than trying to go over them to try and improve what you’ve already done……..you probably won’t.

Back to the darker colour for the higher clouds for a greater sense of ariel perspective. You will notice that I’m also varying the angle of the brush to produce more interesting marks.

When the sky is totally dry, it was time to define the buildings perched on the horizon, a distinctive feature in a Painting of Seaton Sluice. I carefully picked out the main details like the windows and chimneys. This took a while.

Having reviewed the sky, I wasn’t totally happy with a slight cauliflower effect. I lifted it out by applying some clean water then just disturbing the surface of the paint, dabbing it off with a tissue.

The sea is a mix of French Ultramarine and turquoise, moving the brush horizontally and allowing some of the white of the paper to show through for the waves.

I was careful to get the shapes right without getting too niggely or too tight. Then introduced some purple for the shallower pools of water.

Unlike the sketch, I decided to introduce a strong foreground shadow produced by a passing cloud to keep the interest in the middle distance. I used a much more intense purple colour. I also wetted the paint beforehand to let the colour flow and to create a gentle, soft edge where the dark shadow meets the sunlit sand.

Finally, I scratched out a few further highlights of sun on the surface of the pools of water with a scalpel.

So there you have it. A small sketchbook watercolour painted on the beach inspiring this larger studio Painting of Seaton Sluice.

Comments { 0 }

Painting of Piccadilly

Alan Reed

Piccadilly, London

In 2016 I was working on a number of painting projects in London. As I was walking along Piccadilly, enjoying the late afternoon sunlight I was struck by the wonderful contrast between the warm rays of sunlight catching the opposite side of the street, the cool shadows and the way the two were being connected by shoppers darting in and out of the sun.

I had some time to spare so I dashed off a quick sketchbook watercolour knowing that it was warm enough for the paint to dry in time for my next appointment. Over the years I’ve developed a shorthand technique of rendering buildings and figures in a way which provides sufficient information to inspire me for any future studio paintings.

Once I’d knocked in the people (some of which were literally blobs of colour) I knew that this was going to work as a larger watercolour Painting of Piccadilly.

Because the main palette was Cadmium Lemon, Cadmium Yellow, Rose Madder and Manganese Blue, applied over a series of simple washes and non detailed shapes, I also felt that this Painting of Piccadilly would also work as a short video that might be helpful for any budding watercolourist.

Alan Reed

Sketchbook Watercolour of Piccadilly

Obviously a few other colours have been introduced for the figures and the telephone box but essentially, like most of my paintings, I’ve kept it simple.

The Studio watercolour was painted on a 12″ x 9″ Arches Watercolour Block which is ideal for painting smaller watercolours as there is no need to stretch the paper.

The video Painting of Piccadilly shot on my iphone in my Studio and Gallery in Ponteland can now be seen on YouTube so I hope you find it helpful.

Comments { 0 }

Painting of the Angel

Alan Reed

The Angel of the North in Progress

Earlier this year I received a request to do an oil Painting of the Angel of the North. Although I have painted several paintings of the Angel since it was first erected in April 1998 the client had very specific ideas about the size, colours and view point which were completely different from my other paintings of the Angel.

All my previous works of the Angel had been in watercolour so I was excited about tackling it in oils. I suggested to the client that the painting could have more visual impact with some gold leaf on the wings. Over the years I’ve painted a number of different subjects using gold leaf and the effects can be pretty amazing. A more recent example is the scene below of Buckingham Palace from Green Park.

Oil Painting by Alan Reed

Original Fine Art Painting of Buckingham Palace from Green Park painted in oils on Gold Leaf.

I made several trips to see the Angel to get fresh reference and to remind myself just how iconic the Angel has become.

I’m always observing interesting skies and whenever possible I’ll either paint them on the spot or photograph them. In the case of sunrises and sunsets, they are more challenging to paint on location because the colours change so quickly. I searched through my library of photos and found a suitable sky for inspiration.

Alan Reed

Sunset Sky

Producing a Painting of the Angel with gold leaf involved some experimentation with the base colour of the wings so that the gold leaf had maximum impact. I decided that using the same red as the sky would work best. It would provide the right visual connection between the sky and the Angel.

Adding gold leaf demands patience and care but it’s very satisfying when you see the finished result. It’s even more satisfying when the client sees the painting for the first time and loves it!

I’ve had the Painting of the Angel hanging in our kitchen for the last few days. It’s great to see the effects of gold leaf at various times of the day under different lighting conditions. It’s a painting which is quite different from anything else I’ve painted.

I’ve now published this painting of the Angel as a  limited edition giclee print, available on paper and also hand embellished with gold leaf.

A smaller oil painting of the Angel from a different angle is now complete and is available to view at our Studio and Gallery in Ponteland.

Alan Reed

Painting of the Angel

Comments { 0 }

Time Lapse Portrait Sketches

Alan Reed

Charcoal Pencil Sketch

There are no short cuts to achieving sound drawing skills. Regular practise at drawing from observation will pay off in most visual disciplines in art, whether it’s painting, sculpture, graphic design or even photography. Before working on a commission or a painting for exhibition I will often warm up for 10 to 20 minutes with a charcoal pencil sketch of a John Singer Sargent portrait. I’ve drawn dozens over the last few years, particularly as I’ve been receiving more portrait commissions.

I’ve recently started to make time lapse videos of my portrait sketches so that one can see the process on how I draw a face from the start. If you watch the video which is only 24 seconds long, you will see that I draw a faint outline for the shape of the face.

I then make a mark halfway down to indicate where the eyes are to go. I then make another mark in between the eye line and the chin for the tip of the nose. Finally I do one last guideline for the mouth, usually slightly higher than halfway between the tip of the nose and the chin.

Once these are in place, I then start to draw in with greater care the details for the eyes, working my way down the face for all the other features. After that, it’s simply a matter of shading in the hair and drawing in the neck and shoulders. You will see that I’m drawing with a charcoal pencil which gives you a lovely dark, rich tone. I’m  also a big fan of the Moleskine sketchbooks which come in a good range of sizes.

Time lapse videos are quite easy to do and it’s a great way to show folk the drawing process without it taking up too much time.

Comments { 0 }

Commission a Portrait Painting

I’m currently working on a number of portraits for various clients in oil paints and I thought it may be helpful to see the process developing over the sittings, each one over a period of three hours. The model has at least thirty minutes of breaks.

The first sitting is about getting the basic proportions and likeness using a limited palate of Lead White, Yellow Ochre Deep, Light Red and Ivory Black. After laying in the background I lightly skimmed the paint surface with a cloth to soften the colours and to provide a more gentle image to paint into the next day.

A more accurate rendition of the model’s features is needed for the next sitting, ensuring that measurements and distances between the eyes,nose and mouth are correct. Once established, I painted them in with some stronger tones and built up the flesh tones.

In the third sitting I could see that the background needed to be much stronger to make the hair stand out more, so using a touch of Indian Red with Ivory Black I intensified the background to match the same tonal values of the wooden panelling. I also used a glaze to richen the shadow areas on the model’s face.

The glaze from the third sitting was a little too warm, so the following day I toned it down using some cooler colours. Throughout each sitting I made small adjustments to various parts of the painting to help create a better characterisation.

On the fifth afternoon I concentrated on refining some of the brush marks that I had made the previous couple of sittings and added a touch of pink to Isabella’s cheeks.

The Portrait Painting will benefit from at least one more sitting to improve some of the shapes further but at this stage I’m happy with the progress that has been made so far.

Comments { 0 }

Painting of Florence

Firenze painting on location

Via Spirito Santo, Firenze on Drawing Board

To do a Painting of Florence is always a joy and delight. Last September I was working in Florence on a number of painting projects, one of which was painting several street scenes on the spot in my hand-made watercolour sketchbook. In the photograph of what’s on the drawing board you will see the sketchbook depicting my watercolour study of Via di Spirito Santo painted standing up with my small box of paints balanced in one hand with the sketchbook, the other holding my traveling paint brush.

I wanted to capture the dark, narrow street which had snatches of the early evening light catching the tops of some of the buildings and so I used a very limited palate of Raw Sienna, purple and Payne’s Grey for much of the sketch. I’m wanting to retain the freshness of this sketch in my studio production which I’m intending to work on over the next few days. Watch this space for the finished result.

 

Comments { 0 }

Painting of the Grand Canal, Venice

Last night Susan and I watched the  BBC 2 programme Shakespeare in Italy narrated by Francesco da Mosto. Part of the programme was set in Venice, a city which was Susan’s home for 5 years and a place which has been a content source of inspiration for my paintings of Italy collection. One of my favourite views is taken from the Accademia Bridge, looking at the Santa Marie della Salute. I’ve painted it several times on location and using the sketches, I have produced a number of studio watercolours which have included commissions. On one particular painting, I decided to photograph the painting of the Grand Canal, Venice in stages so that one can see the progression and development of the painting, from the initial pencil drawing through the sequence of washes, to the build up of detail.

After stretching a sheet of hand made Italian watercolour paper on to the drawing board, the first stage was to draw out the main elements of the composition with a B pencil. I like to paint a lot of the detail from observation with my brush, so there isn’t a huge amount of detail in the pencil drawing.

Next, I covered the whole sheet with a wash of clean water then ran in a gentle wash of Winsor and Newton Cadmium Lemon from about a third of the way from the top of the board. This helps to take away the starkness of the white and set the tone and mood for the rest of the painting.

One the yellow had dried I repeated the process of laying a wash of clean water except once it hit the architecture, I began to be more random with the wash leaving some of the paper untouched by water. I quickly ran in a wash of Rose Madder into the water but left some of the yellow showing through as pure yellow.

Before starting the sky, I masked off some of the detailed areas in the water like the poles and boats so that I wasn’t having to paint around them with the blue. I started off the sky with quite an intense wash of French Ultramarine and Manganese Blue, fading it out slightly as the sky came closer to the horizon and then painting around the architecture.

Once it had dried, I deepened the blue for the foreground part of the Grand Canal I then started on the buildings on the right hand side. The detailed photograph shows how some of the blue in the sky and water was used as shadow areas for the buildings.

I finished the right hand side before commencing on the left so that I could use slightly more stronger colours to give the impression of the left hand side being closer.

When I rubbed off the masking fluid, it meant that the colour underneath remained as a base for the poles and boats. Strong, dark refections on the left provided further depth to the painting and once I had added the smaller areas of detail to the architecture and boats, the painting was completed. I have two paintings of the Grand Canal, Venice available as limited edition prints available online or from my Studio and Gallery in Ponteland. I also have an original watercolour available of the Grand Canal, Venice which I painted using the same process described.

 

Comments { 0 }

Dhow, Reflections

Dhow, Reflections

Dhow, Reflections

A simple composition like this titled “Dhow, Reflections” is actually one of the most difficult subjects to paint successfully in watercolour. Over the last five years I’ve made many sketchbook studies of Arabian dhows whilst painting on location in the Gulf and find them a delight to paint. This particular painting was inspired by a dhow I saw coming in to harbour towards the end of the day. I decided to do a large studio watercolour 28″ x 20″ to capture the warm light and the solitary vessel.

The challenge is achieving the the graduation of the background colours. When you blend blue into yellow, it’s very easy to get it wrong and create a dirty green colour, so patience is the key. I drew out the basic shape of the dhow and masked off the white areas using masking fluid before tackling the background.

First I laid a wash of clean water over the entire sheet of hand-made watercolour paper. Whilst it was still wet, I ran in a wash of Cadmium Lemon about a third of the way from the top, fading it out slightly as it went towards the bottom of the paper. About two hours later when it was dry, I repeated the process with another wash of clean water, however, this time I laid a wash of Rose Madder about halfway down the paper and faded it out about a third of the way from the bottom.

Another two hours later and I applied another wash of clean water over the whole sheet, this time running in some French Ultramarine and Manganese Blue in the top third of the painting, making sure it faded out quickly as it hit the yellow. I ran a touch more of the blue into the bottom third to create a reflection of the sky. By painting the background in a series of washes, you create a depth and richness to the colours which would not be achieved if one tried to do it in one wash.

Once it was all dry, I rubbed out the masking fluid and began painting the dhow and it’s reflections. The result is a very restful painting that one can see at my Studio and Gallery in Ponteland.

Comments { 0 }

Dunstanburgh Castle

 

Dunstanburgh Castle

Sketchbook Study of Dunstanburgh Castle

I’ve made a couple of painting videos during my career as an artist which you can also see on YouTube. By following this link you can watch me paint Dunstanburgh Castle on location. The image above is the sketchbook watercolour which I painted on the video, together with a larger 14″ x 10″ watercolour. Both paintings can be seen at my Studio & Gallery in Ponteland and were painted with a size 20 Stratford and York synthetic brush.

Most of the background music was specially composed by my friend Stu Kennedy. Check out his website for more information.

Comments { 0 }