Tag Archives: Edinburgh

The Artist

Painting of Jebel Akhdar, Oman

Original Watercolour of Jebel Akhdar, Oman

In 2013 I won “The Artist Prize” in the Royal Watercolour Society competition with my painting of Jebel Akhdar, Oman. The prize was a 3 page feature in “The Artist” Magazine where the writer Susie Hodge interviewed me.

I’m regularly asked questions by art students about my working methods and how I started off as an artist so I thought it may be helpful for me to post some of my answers. Here are the first 10 answers.

  1. Although I had seen my father use watercolours and I had always admired Rowland Hilder’s paintings featured in the Artist’s Britain Calendars in the 1970’s it wasn’t until the age of 15 that I first tried them out at school through my art teacher. I immediately fell in love with the way one could achieve different colours by laying one wash on top of another. I enjoyed art at school, particularly when I came second in an art competition at the age of 9. With the prize money I purchased some poster paints which I then used to win first prize in another art competition the following year with a painting of Bamburgh Castle.
  2. There was never really any doubt in my mind that I wanted to become an artist, particularly with my father Ken Reed) being an artist and seeing my grandfather paint too.

    Alan Reed

    Winter Landscape after Rowland Hilder

  3. I left school at 16 and went to art college in Newcastle upon Tyne studying Graphic Design and illustration. At college we were introduced to lots of different mediums. None of the lecturers showed me how to use watercolour though. I recall starting to teach myself one summer holiday by studying Rowland Hilder’s paintings. I showed my efforts to my lecturers the following term and they were very encouraging. Some of them actually bought my paintings. I had my first exhibition as an art student in our local library and sold all 12 paintings exhibited. I started to receive commissions from the exhibition.
  4. A couple of years after leaving college I decided to go self employed as a full time artist at the age of 22 using the Enterprise Allowance Scheme. To be eligible you had to be unemployed for several weeks then open up a business account with £1000 in. The government would then pay you £40 a week for a year. I guess 99% of the businesses would have failed but it was a great help to me. I also did a couple of days part time lecturing in art and design around the North East which was an additional income. I gave up the lecturing around 2004 although I still do 3 or 4 watercolour demonstrations to various art clubs around the North East.
  5. The time I spend on doing a painting varies. If I’m painting “plein air” it will take an hour or two. I might spend a little time in the studio to finish it off if required. Studio paintings will generally take a day to two weeks depending on the size, subject matter and interruptions!

    Alan Reed

    Sketchbook Watercolour of the Arch of Titus

  6. If I’m painting a landscape or cityscape in watercolour I will use a combination of sketchbook studies painted on location and my own photographs. I sometimes have to work off the clients photographs on some commissioned work. If I’m painting a portrait in oils, then I much prefer painting from life over a period of 4-6 sittings rather than photographs.
  7. Choice of scenes will depend on if it’s a commission or for an exhibition. The client will often be guided by my own thoughts and ideas. I usually get an idea straight away of what’s going to work. When painting a landscape or cityscape, I’m wanting the viewer to feel as though they are a part of the scene before them, so creating mood, emotion and atmosphere are very much a part of my design.
  8. I will use artist’s license whenever necessary, sometimes leaving out cars, road signs and certain figures in a cityscape or adding in figures. I’ll often change the sky or add foreground shadows to create drama in a landscape.

    San Gimignano

    San Gimignano, Evening Sunlight

  9. I love to capture the hustle and bustle of city life with interesting architecture, particularly cities like Edinburgh, Bath, Newcastle, Florence and Venice. Coastal scenes like the West Coast of Scotland and Norfolk are also a favourite. I’m enjoying portraiture at the moment too.

10. Capturing mood and atmosphere, the fleeting moment of light striking a building or the first rays of sunlight in a Tuscan landscape really appeals to me.

Also trying to describe someone’s personality and psychology in a portrait is a really enjoyable challenge.

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Christmas Exhibition

Alan Reed

Mont Blanc & Manganese Blue

 

Christmas Exhibition starts Saturday 5th November with Fresh Coffee and Mince Pies.

Christmas Exhibition starts Saturday 5th November with Fresh Coffee and Mince Pies.

Click HERE for more information.

 

2016 has been busy and eventful year. It began with my watercolour “Mont Blanc and Manganese Blue” being selected for the Royal Watercolour Society‘s Competition in January. It is a painting inspired by a very memorable trip to Chamonix in the summer of 2015 when I was able to produce a number of sketchbook studies of the stunning scenery. My Mont Blanc painting forms part of this years Christmas Exhibition.

Alan Reed

Last Light, Ruwi, Oman

Much of this year has been spent working on commissions, including another 4 large landscapes for a client in Oman. Two of the commissions were oil paintings of mountain wadis. Continuing on the mountain theme is “Last Light, Ruwi, Oman” a painting which I was shortlisted for “Artist of the Year”. This watercolour is also on show for my Christmas Exhibition.

My connections with Scotland remain as strong as ever so I have several new original paintings on display featuring Edinburgh, Eigg and Rhum, Crail, Pittenweem and North Berwick.

You can also browse through my extensive collection of limited edition prints of Scotland at our Christmas Exhibition.

Italy has also been on our radar throughout 2016. In May and June we took guests out to Umbria for the painting holidays which we organise. We also took day trips to Arezzo and Anghiari in Tuscany so that the guests could have experience in painting these picturesque hill top towns steeped in history. Our week for June 2017 is already fully booked but we are taking expressions of interest for future painting holidays.

We returned in August for another trip where we experienced the tremors of the tragic earthquake which left many dead and homes destroyed. A reminder of the fragility of life.

I’ve also had the good fortune of working on several more painting commissions of Italy including 2 of the Colosseum. See some of my new works of Italy this Christmas Exhibition.

Alan Reed

Theatre Royal in the Rain

Of course, Newcastle and Northumberland features heavily for my Christmas Exhibition so there will be some new works for you to see on the run up to Christmas.

My Christmas Exhibition starts on Saturday 5th November. It runs Tuesday to Saturday 9:30 – 5pm right up until Christmas Eve on the 24th so you will have plenty of time to buy that special present for your loved one.

 

 

 

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Faded Prints

Alan Reed

Correct colours against a faded print

I have been having my original paintings published as limited edition prints since 1993. Initially it was through a publisher that was based in Edinburgh called Di Rollo Ltd. The publisher would organise the printing and ensure that the colours were as close to the original watercolour as possible. I would make the final approval then sign and number each print.

I also began to publish some of my work too and would over see the whole process. In the 1990’s all my prints were printed through a 4 colour lithographic process. In the last 15 years or so, the giclee method of printing has become much more popular with artists. The popularity with publishers and artists has grown for several reasons:

  1. The set up costs are not as high as the lithographic prints.
  2. Although the unit cost per print through giclee is significantly more than a lithographic print, publishers don’t have to print the whole edition in one go, so they don’t have to carry huge amounts of stock.
  3. Publishers can test the market with just one or two prints rather than being left with hundreds of prints if the image is not as popular as expected.
  4. The quality of the inks is far superior through the giclee process than with the lithographic prints so you are less likely to get faded prints.

Today I still sell both lithographic prints and giclee prints, however all my new prints are giclee because of the reasons outlined above.

Since my first paintings were published, I’ve been able to monitor the light fastness of the prints as I’ve seen them hanging on the walls of family, friends and clients. I can conclude that if the prints are hung away from sunlight, the colours remain strong. My sister in law has at least six of my prints which I see on a regular basis. She has been careful to hang them away from strong light. Only one has faded which was close to a large window.

Over the last few years, several clients have brought to me faded prints which they have hung in direct sunlight. The most recent is this lithographic print of the Grand Canal, Venice. I’ve recently replaced it with a giclee print for the client. Indeed, the lithographic version is no longer available, only the giclee.

Even though it is the full responsibility of the client to ensure that ALL their artwork is hung away from strong light, I like to show goodwill with any customer who has a faded print of one of my paintings, even if it is not one that I actually published.

I can replace faded prints at a trade price with a giclee print and I will sign and number it the same as the faded one. I can also put the new print in the frame for a small charge of £20- £30 depending on the size of the frame.

If you feel as though one of your Alan Reed prints has faded, please contact me on 01661 871 800 or email art@alanreed.com

 

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Springtime

Alan Reed

Bamburgh Castle Watercolour

It’s springtime! As I’m writing this blog post the weather outside feels distinctly more like winter but that’s not untypical for April in the north east of England. Despite the weather, springtime is the theme for my exhibition currently on show at my gallery in Ponteland throughout the month of April.

Because we can experience such variable weather, sometimes in a single day, my springtime exhibition is as equally varied. There’s an eclectic mix of places and subjects to see for springtime like some of the very picturesque fishing villages on the East Neuk of Fife, cityscapes of Edinburgh and the Alps, including my painting “Mont Blanc and Manganese Blue” which was selected for the Royal Watercolour Society Exhibition earlier this year.

Other subjects include some classic views of Newcastle’s Grey Street, the Roman Forum in Italy both of which have been captured in springtime. I also have some figurative paintings on display too.

Springtime is often a period where we take a fresh look at our homes and gardens to create a new look and feel to the environment we spend so much time in. What better place to start than to add to your art collection.

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Princes Street

Alan Reed

Princes Street, Edinburgh

I have a number of new watercolours being exhibited at the Gullane Gallery, East Lothian 12th March until 3rd April. One of the paintings going on show is this cityscape capturing Princes Street, Edinburgh on a winter’s afternoon.

The scene is taken from Calton Hill which boasts commanding views over the city. Often it is the inclusion of figures which can bring a cityscape to life, but in this instance it’s the traffic, in particular the buses nudging their way into the queues of cars, that bring a sense movement to the watercolour.

Even though the time of year is winter and the sun has almost set, there’s a strong feeling of warmth and light coming through because of the base washes of Cadmium Lemon and Rose Madder. This is contrasted by the cold shadows created by a quite bold application of Paynes Grey for the road and rooftops. Further interest has been achieved by the highlights on the cars and buses on Princes Street which have been very simply rendered.

Lifting out some of the colour has brought a feeling of mist and smokiness, giving the architecture an ethereal quality which has enhanced the depth and ariel perspective to Auld Reekie.

I also have a limited edition print titled Princes Street which is available online at alanreed.com and from my Studio and Gallery in Ponteland.

 

 

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Gullane Gallery

Alan Reed

Crail, Coming Home

For the last three years I’ve been exhibiting my paintings at the Gullane Gallery, East Lothian. I’ve been invited again to show a selection of new works as part of their easter exhibition starting 12th March.

For over 20 years I’ve enjoyed painting in Scotland so for this exhibition I decided to revisit some of the fishing villages that I’ve painted in the past along the East Neuk of Fife. The weather has been dreadful over the winter months which hindered my plans right up until early February when I was finally able to travel with the promise of sunny weather.

I managed to visit three of the fishing villages which I have painted before and have published as limited edition prints, Pittenweem, Anstruther and Crail.

Even though it was sunny, it was still very cold but I was still able to do a sketchbook watercolour at each one of the harbours. The one of Crail was painted from a high vantage point looking into the low winter sun.

Alan Reed

Sketchbook Watercolour of Crail

For the larger studio painting I tried to keep the palette as simple as the sketch and the brush marks as lively, however I couldn’t resist adding some of the details found in the nearby buildings which overlook the picturesque harbour.

The exhibition at the Gullane Gallery will also feature another painting of Crail as well as paintings of Pittenweem, North Berwick and Edinburgh. The exhibition continues until 3rd April 2016.

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The Kiss

The Kiss by Rodin

Charcoal Sketch of Rodin’s The Kiss

 

I’d heard the Rodin’s famous sculpture, The Kiss is currently on display in Edinburgh. Edinburgh is one of my favourite cities. I’ve been painting its stunning architecture and famous streets for over 20 years, producing over a dozen limited edition prints of Auld Reekie. Last week I was dropping off some paintings at a gallery nearby so I couldn’t resist popping in to the National Gallery to see some truly engaging art. There’s too much to see in less than two hours so I restricted myself to making three charcoal sketches in my moleskine sketchbook.

After a brief date with the lovely Lady Agnew by John Singer Sargent and a quick hello to one of Rembrant’s later self portraits (both recorded in my sketchbook) I decided to make another charcoal drawing of Auguste Rodin’s ‘The Kiss”. I had already made several studies earlier on this year which I used to produce a larger watercolour available as a limited edition print.

If you haven’t been to the National Gallery recently then it’s well worth a visit and if your’e an artist, make sure you take your sketchbook!

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Auguste Rodin’s – The Kiss

Auguste Rodin's "The Kiss"

Rodin’s “The Kiss”

In my previous post I described how I went to the National Gallery in Edinburgh to see Auguste Rodin’s famous marble sculpture “The Kiss” in March. I made a couple of sketchbook studies in charcoal then an A6 watercolour. After analysing my studies, I decided to do a 14″ x 10″ watercolour of The Kiss in the studio which came out really well.

I’ve since produced a larger 29″ x 20″ original watercolour of The Kiss which has been reproduced as a limited edition giclee print available in three sizes.

The painting forms part of my Spring Exhibition at my Studio & Gallery in Ponteland which is on until Sunday 28th April. The first copy has already been sold. Whilst I was doing this painting, I was photographed by a street photographer called Victor Adams. Check out his blog here.

 

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Rodin’s The Kiss

Charcoal Studies of Rodin's "The Kiss"

Rodin’s The Kiss

Rodin’s stunning marble sculpture The Kiss is currently on view at the National Gallery, Edinburgh on a year long loan from Tate Britain. Last week I decided to pay homage to one of Rodin’s most famous works.

I find that one of the best ways to really appreciate art is to draw it so I embarked on a couple of charcoal studies in my moleskine sketchbook. I then did a small A6 watercolour study which I have since used in conjunction with the charcoal works to produce a larger studio painting in watercolour. This will be one of the paintings on view at my Spring Exhibition starting 13th April.

Almost two hours passed whilst I worked away in the gallery so I barely had time to have a quick glance at John Singer Sargent’s Lady Agnew before it was time to leave.

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John Knox House, Edinburgh

Painting of John Knox House

John Knox House

The Royal Mile in Edinburgh, known by the locals as the High Street, has to be one of the finest streets in Europe. Over the years I’ve painted it many times and captured some of its famous landmarks including St Giles Cathedral, The Tolbooth and of course John Knox House. Many of these watercolours have been successfully reproduced as limited edition prints which can be purchased online, from retailers in Edinburgh and from my Studio and Gallery.

My first limited edition print of John Knox House sold out very quickly however, we still have copies available of this smaller painting, a busy scene depicting various folk going about their daily business, just like multitudes of others, generations before them.

You will notice in the painting that the ultramarine blue is repeated, not just in the sky but in other parts of the painting. Likewise, the deep red of the telephone boxes finds its way into other parts of the painting to add extra life and colour to the cityscape.

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