Tag Archives: painting

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.

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Painting Holidays in Italy

Alan Reed

Chiesa del Carmine watercolour

We have just returned from another wonderful week in Umbria where we ran another Painting Holiday. Once again Chiesa del Carmine was the venue. For some of the guests it was their 3rd and 4th Painting Holiday in Italy with us and they have already re-booked for 2018 along with some our new guests this year.

This time we decided to make the holiday even more relaxing by hiring a luxury coach to enable stress free transfers for guests travelling from Newcastle Airport and for our day trips out to the hilltop towns of Assisi, Cortona, Todi and Perugia.

We added wine tasting and a fun trip around the nearby vineyards to our itinery which everyone loved.

The painters responded well to the challenge of painting “en plein air” throughout the week and were pleased with their results. It was a delight to see them develop their skills and grow in their understanding of drawing and painting.

As usual, I would often paint alongside the painters to aid tuition. Sometimes I would do a simple pen drawing in my sketchbook to help resolve the composition.

Alan Reed

Pen & Ink drawing of a vineyard near Chiesa del Carmine

Alan Reed

Sketch book pen drawing of Todi, Umbria

On other occasions I would either paint a sketchbook watercolour on hand made watercolour paper in the new batch of leather bound sketchbooks I had made myself at the Literary and Philosophical Society in Newcastle. It’s so rewarding painting in a sketchbook you have made yourself.

Alan Reed

Sketchbook watercolour of a vineyard

Or I would produce a larger painting on an Arches Watercolour Block. Sometimes I would do all three!

Although there is always lots to paint around Chiesa del Carmine, when you are running Painting Holidays in Italy, it’s always fun to break up the weeks activities by visiting other nearby places. The hilltop town of Todi has easy access for the guests who are less mobile. Park at the bottom of the town and take the funicular to the top where you can get terrific views of  the town which are fascinating to paint.

Several of the guests had a go at painting the scene below. What could have been quite a daunting cityscape for many was simplified by breaking down the complex array of gable ends, eaves and rooftops into more manageable horizontal and vertical shapes. A light wash of Lemon Yellow and Rose Madder for the sunlit areas and a gentle purple mix for the shadows helped to capture the higgledy piggledy nature of the Medieval town without resorting to lots of fussy detail.

Alan Reed

Todi, Umbria

It was a very satisfying trip on so many levels, summed up beautifully by the lovely testimonial below from one of our new guests who has already re- booked for 2018.

 

“Of all the many and varied holidays I’ve had this was one of the very best.  So many aspects of it will stay with me:  the beauty, tranquility, flora and fauna of the valley; the superb reverentially restored church and farmhouse; the attention to detail and comfort (who would have thought of building a fridge and glasses cupboard into an ancient wall surrounding the swimming pool?); the wonderfully talented chefs and friendly staff; the lovely and unspoiled local towns and cities and, most importantly of all, the thought and care that goes into combining all of these into a perfectly balanced week with something for everyone and lots of choice.
 
What about the painting? you’ll be thinking. This was a very personal experience for each of us. As someone with a love of art and no experience of creating any I learned something very important. How to look and how to see. I love Alan’s style and very much enjoy the paintings of his I own. A treasured possessions is one of his exquisite notebooks.
 
He is a sensitive, encouraging teacher at the same time as being an honest and helpful critic (not an easy balance to achieve). I confess to being frustrated by my own crass attempts at producing an actual painting of something recognisable but was not discouraged. I learned about mixing colours, appropriate brushes and something about the techniques I’d be so proud to master. I do have a drawing of an olive tree I’m quite happy with.
 
It was an absolute joy to watch those more skilled (and dedicated!) on site, in cafes, churches and viewpoints learning, sketching and painting. The finished works are more than inspiring.
 
I’m much better at shopping.  And Susan is a highly skilled mentor and adviser in this respect. Local knowledge and networking is something else that is a huge bonus in so many aspects of this holiday.
 
Good conversation, laughter and fun were in abundance last week. I’m missing that already – and the sun. Did I mention the sun? It shone all the time and sometimes with a gentle cooling breeze. Perfect. Everything was, actually, perfect.
 
 Thank you Susan and Alan so, so much”.
Maggie C

We have already set one of the dates for our Painting Holidays in Italy for 2018, 2nd – 9th June. There is now only one double room available.

Due to growing interest, we are considering running another one of our Painting Holidays in Italy in either September or October 2017. You can register your interest for 2018 at reedartholidays.com or alanreed.com

 

 

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Painting on Gold Leaf

Oil Painting by Alan Reed

“Buckingham Palace from Green Park” painted in oils on Gold Leaf.

I first started painting on gold leaf in 2009 when I was working on a large painting commission. As part of the project I worked on some small boards about 19″x 15″ which were primed with gold leaf. I used these to produce some experimental paintings, one of which was a portrait of my wife Susan. The whole experience was challenging but very rewarding. Difficulties can arise in trying to get the right colours when the gold comes through the initial coat of paint. You have to build up the tonal values and colours to balance them against the gold. This can take time.

Painting on gold leaf creates effects which can change quite dramatically depending on the lighting. This can bring an almost 3D quality to the painting, especially when viewed with a spotlight.

In the oil painting of “Buckingham Palace from Green Park” I decided to use my limited edition print of the same scene as a basis for the idea. However, instead of using a wider range of tones and colours, I chose to use just 6 colours in a flat art deco style, leaving the gold leaf itself as an extra colour for the sky and reflections and highlights in the foreground.

The overall effect is both engaging and dramatic. You get a strong sense of light and warmth coming through from the sky which is emphasised by the shadows being cast by the trees and the lamp post. I’ve stylised the scene to simplify it as there is a lot going on with the leaves, architecture and trees.

Both the Buckingham Palace painting and the portrait of Susan can be seen at my Studio & Gallery in Ponteland as part of my Christmas Exhibition which runs until the 24th December 2016.

Alan Reed

Susan, Oil on Gold Leaf

 

 

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San Gimignano

Alan Reed

San Gimignano, Afternoon Sunlight

Susan and I first visited San Gimignano in February 1999. We were staying in Florence for several days and having seen San Gimignano featured on a holiday programme, we decided to go there for the day. A local bus took us to nearby Poggibonsi then after a short wait, another bus to our destination, the medieval hilltop town of San Gimignano.

From a distance it looks like a mini Manhattan with its 14 towers gracing the Tuscan skyline. Apparently it did boast 72 towers, built by the Patrician families who controlled the town. The bigger the tower, the greater your wealth! I remember painting a watercolour by the well in Piazza della Cisterna whilst Susan went off to buy some wild boar salami for an al fresco lunch. Even though it was February, it was bright, warm and sunny, ideal conditions for painting “en plein air”.

After lunch I spent the afternoon wandering about gathering further reference to do a studio painting to add to my Italian Collection of Limited Edition Prints. As the sun began to set and we made our way to the bus I noticed that the stonework began to turn a beautifully warm pink with hints of orange. I logged the colours in my mind and decided that this would be mood and atmosphere I would aim to capture.

The studio painting of San Gimignano which was reproduced as a limited edition print was an immediate success. I still sell copies of it online and from our gallery in Ponteland. More recently I’ve painted a portrait version of a similar view which is also available as a limited edition print.

You can see a short video on YouTube of the original watercolour “San Gimignano, Afternoon sunlight” which can also be seen at my Studio & Gallery.

 

 

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Christmas Cards

Christmas Cards available to purchase online www.alanreed.com or from Alan Reed Studio and Gallery in Ponteland

Our Christmas Exhibition is now on where you can visit us and see a large collection of Paintings, Prints, Christmas Cards and Gifts.

Grey Street in the Snow

Christmas Cards

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The Artist

Selection of Alan Reed Sketchbooks

Sketchbooks painted on location

This blog post continues on from the previous one where I have writing about my working methods, how I started my career as an artist and my artistic influences.

11. I use a limited palette with watercolours, Cadmium Lemon, Cadmium Yellow, Yellow Ochre, Raw Sienna, Rose Madder, Vandyke Brown, Payne’s Grey, Manganese Blue, French Ultramarine, Purple, Cadmium Red, Windsor Green, Purple and Lamp Black. For oils I use Lead White, Yellow Ochre, Light Red and Ivory Black. I rarely use any other colours.

12. For my watercolours I tend to use Stratford and York synthetic brushes, Winsor and Newton Artist’s Paints and either Arches or Fabriano watercolour paper. I sometimes use Two Rivers watercolour paper. For oils I use Old Holland Paints.

13. I’m often asked if I use masking fluid. Very rarely but on the odd occasion I find it helpful.
14. I tend to prefer early morning light and will usually try to avoid painting midday, particularly in the summer when the sun is high. I find painting sunsets “plein air” a little frustrating as your’e battling against the fading light. At least if you start a painting as the sun is rising you will have generally put down the right colours before they have changed which will then set the mood for the rest of the painting.

15. I will usually spend some time thinking through the composition and plan out the scene in my minds eye and in sketchbook form before starting on a studio painting.

16. Regarding art competitions, much will depend on my work schedule. 2013 was the first time I’d entered the Royal Watercolour Society Competition so I was delighted to have had my work accepted and recognized by The Artists Magazine and won The Artists Prize.

17. The hardest aspect of being an artist is the actual running of a business so that one can make a living to pay a mortgage and support a family, particularly during a recession.

18. I probably do about 4 or 5 paintings a month. However some will have taken a day and some will have been painted over several months.

19. Buildings and people are hard to do. I’ve spent considerable time working on both.

20. I started off my career admiring Rowland Hilder’s landscapes. Over the years I’ve been a great fan of Sir William Russell Flint, Winslow Homer, Edward Seago and Arthur Melville. They were all great draughtsmen which I think is essential when using watercolour and for painting portraits from life. At the moment I find myself drawn to John Singer Sargent, an extraordinarily gifted individual.  I will often warm up before I start a painting by copying a John Singer Sargent portrait sketch in my Moleskine sketchbook. I’ve even copied several of his portraits in oils like “Head of a Capri Girl” to help understand his techniques.

They have all been an influence one way or another. It’s good to study the techniques and skills of those who have been before and have left a rich body of work for others to enjoy.

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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.

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Portrait Sketches

As I mentioned in my previous post, I will often start my painting days with a warming up exercise. My usual practise is one or two charcoal pencil studies of John Singer Sargent portraits in my Moleskine sketchbook.

Last year I did a few time lapse videos of these portrait sketches to show the process of these simple studies. I start off with the outline of the head. Halfway down I start to draw the eyes. One these are in place, halfway between the eyes and the chin I’ll make some marks to indicate the tip of the nose. Slightly above the halfway mark between the nose and the chin is the mouth.

All these distances are only guidelines for doing portrait sketches. To get a good likeness you have to be really accurate with your proportions, shapes and mark making. Like any craft or skill, regular practise in necessary to become competent.

To find out about commissioning a portrait then visit my website to watch a short video.

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Christmas Exhibition

Alan Reed Art

Aiguille du Midi

Christmas Exhibition at the Alan Reed Studio & Gallery in Ponteland

Christmas Exhibition Preview Weekend 5th & 6th December

Tuesday to Saturday 9:30am -5:00pm

Continues until 24th December 2015

Earlier this year we had a family holiday in Chamonix, France with our daughter and grandchildren. We took two trips up the spectacular Aiguille du Midi which we would gaze at every day from our apartment in Chamonix.

On each trip up this dramatic peak, accessed by cable car, I did a sketchbook watercolour, one of Mont Blanc, the other seen below, looking across the vast expanse of mountain peaks that seemed to go on for ever. The sketchbook painting became the catalyst for this 16″ x 12″ studio watercolour above, which can be seen at our Christmas Exhibition.

The preview weekend starts 5th & 6th December. The Christmas Exhibition continues until 24th December.

Alan Reed

Sketchbook watercolour of Aiguille du Midi

From Aiguille du Midi you also get a wonderful view of Mont Blanc, the highest mountain in the Alps. I enjoyed painting these scenes so much that I intend to develop more of my sketchbook paintings from Chamonix into larger works.

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Watercolour Course

Original Watercolour of Theatre Royal

Grey Street, Snow is Falling

My next Watercolour Course is being held at my Studio & Gallery in Ponteland starting Friday 30th January-6th March.

This new Watercolour Course lasts 6 weeks and I will be covering many different aspects of what has been described as the most difficult medium to master.

However, even though watercolour painting is challenging, even an absolute beginner will be able to gain an insight and understanding of at least the basics of watercolour painting through the step by step demonstrations I’ll be giving on a weekly basis.

Each day begins with me going through the reference material provided for the lesson by demonstrating each stage for the students. They then go and work through the process themselves. I’m always on hand should anyone run into any major problems, although I do stress that we learn the most through making mistakes!

Fresh tea and coffee is provided but I recommend that pupils bring a packed lunch to break up the lesson which runs from 10-3pm.

Regarding materials, these are the colours I tend to use the most and which I carry on location: Cadmium Lemon, Cadmium Yellow, Yellow Ochre, Raw Sienna, Scarlet Lake, Rose Madder, Ultramarine Violet, French Ultramarine, Manganese Blue Hue, Cobalt Turquoise Light, Windsor Green, Burnt Umber, Vandyke Brown, Payne’s Grey, Lamp Black and Chinese White.

Alizarin Crimson, Cerulean Blue, Winsor Yellow and Cadmium Orange are also colours which I might also use when working in the studio. Remember, you can mix colours, either in your mixing palettes or through laying one wash of colour on top of another when it’s dry.

For paper, I like to demonstrate on Arches Watercolour Blocks, 14″ x 10″ rough surface or 12″ x 9″ size. I also recommend having a moleskine sketchbook to practise drawing out the subject before commencing the painting.

The painting above “Grey Street, Snow is Falling” is one of the paintings I demonstrated on the last course for the final week. It’s a variation on a watercolour I painted several years ago as a Christmas Card.

I was pleased with the results that the class came up with after only 5 weeks tuition and the feedback about the watercolour course I received from everyone was very positive. If you are interested in finding out more, please contact me.

The links on this post are affiliate links to products which I personally use. If you click on the links and buy any of these products then I will receive a small percentage of the sale from Amazon at no extra cost to yourself.

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