Tag Archives: Paynes Grey

Arabian Dhows

Alan Reed

Dhows, Sur

When we first visited Oman in 2007 we were fortunate to go on a day trip to the coastal town Sur, famous for its dhow building. I recall doing a couple of sketchbook watercolours in the heat of the day, the high sun catching the top of the clouds.

These studies of Arabian Dhows became the inspiration for a number of studio paintings including one on gold leaf, and a number of watercolours which are available as a limited edition prints from alanreed.com.

I’ve recently painted a 14” x 10” watercolour capturing these beautifully shaped sailing vessels lying out of water which I’ve filmed for a new Painting Video which you can watch on Youtube.

For your interest, here is the script for the voice over for the video to save having to take notes.

First step is to get my usual wash down of Cadmium lemon and Cadmium Yellow which is used to harmonise all the other colours and to take away the stark white of the paper. I’ve wet some of the paper with clean water so that the first wash spreads easily, avoiding hard edges. This initial wash always seems to look wrong to begin with but remember, it always dries lighter.

I forgot to film the second wash of Rose Madder, but again, I wet the paper in places allowing some of the yellow to show through. As you can see, the Rose Madder doesn’t cover the whole sheet.

Once dry, another application of clean water and it’s time to add Manganese Blue for the sky. This time the brush marks are even more carefully considered. I want to re-create the effect of the sun bursting through the clouds from the top right hand side corner. The brush marks echo the direction that the rays of sunlight are coming from. I’ve added a touch of purple to the blue to bring a sense of depth to the lower foreground cloud.

Using a smaller brush it’s time to paint the areas of sky being reflected on the sand that is still wet from the receding tide. The brush marks I’m making are more horizontal and I’m working wet on dry. At times I’m just catching the surface of the paper to replicate the patterns in the sand. As with the sky, I’m dropping in the occasional purple for variation. You can also see that I’m leaving the first wash of yellow to come through in places to suggest the sunlight sparkling on the surface of the water.

A subtle mix of purple and Raw Sienna is used to paint in the areas of wet sand. I’m careful not to overload the brush, almost dabbing it on the surface of the paper.

I’m using this colour, not just for the wet sand but also for the hull of the dhow that is in shadow. Taking the shadow area back into the sand, always leaving parts of reflected blue and sparkle to shine through. Also a few very small details to indicate the ripples of wet sand. Where the shadow is darkest, I’m adding a slightly more intense purple to deepen the shadow.

Arabian Dhows on Gold Leaf

Dhows, Oman – Oil on Gold Leaf

The distant dhow has a base of Manganese blue to suggest a cool shadow, intensifying it with a darker blue for the keel.

A much finer brush is required to paint the fine wooden details that are another distinctive feature of the dhows. You need to be very careful at this point because it’s difficult to lift out any mistakes against such a light background.

It shouldn’t be necessary to say that this 12 minute video does not represent the entire time it took to do this painting. I’m just showing the main areas of interest.

I’ve mixed a lovely rusty red for the sides of the dhows. Again, I’m being very precise as to where I’m adding the colour, varying the intensity of the colour.

The same rusty red is used “wet on wet” for the distant dhow.

A darker purple and the thin brush is used again for these other detailed areas which take a bit of time to work out. I’m keeping the brush marks simple, not too niggley or fiddly but still varying the tonal values of the linear brush marks for interest.

I’ve decided that I’d like the hull slightly lighter so I’m painting some clean water on to the hull then just dabbing the water with some tissue to lift off the colour.

This dark shadow area almost looks black. It’s actually a mix of purple, Paynes Grey and perhaps a touch of Lamp Black. Carefully defining the gentle curve of the hull then contrasting that mark with some freer more expressive brush marks to suggest the more uneven ground where there are some rocks.

The left hand side of the hull needs to go darker so I’m running a slightly lighter version the same shadow colour over the rusty red.

On this close up you can see many other details that I’ve added like the anchors and rocks.

So there you have it. Arabian Dhows resting at low tide at the coastal town of Sur in Oman.

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Paintings of Kuwait

Mubarakiyya Souk

Entrance to Mubarakiyya Souk, Kuwait

In the late spring of 2009 I had an exhibition of my watercolour paintings in a gallery in Kuwait. I travelled to Kuwait in the January to do some sketchbook studies around the city and found myself fascinated by the old Mubarakiyya Souk. I made a number of on the spot sketchbook studies which you can see in another blog post.

I used these studies to do two studio paintings. A smaller A4 watercolour which is sold and this larger 21″ x 14″ original painting which has been published as a limited edition print.

You can see from the earlier blog post that I’ve used the same simple palate as the sketchbook studies, Raw Sienna, Cadmium Red, Vandyke Brown and Payne’s Grey for virtually all of the painting which is currently on view at my Studio and Gallery in Ponteland.

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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.

 

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River Tyne Sunset

River Tyne Sunset, Near North Shields

River Tyne Sunset

In one of my recent blog posts I talked about a commission I received when I first went full time as an artist back in 1984 at the age of 22. It was to do two watercolours of the River Tyne near North Shields for a leading North East businessman. He wanted me to depict the industry on the River Tyne, in particular the cranes, docks and ships.

Last year I decided to re-visit the reference I gathered over 27 years ago to do a fresh take on the scene. I stretched a massive sheet of Arches watercolour paper around 40″ x 30″ and drew out the basic composition in pencil. Then the real fun began!

First I wet the paper and flooded specific areas of the sky and all of the river with a mix of Cadmium Lemon and orange to create the effect of low winter sun catching the clouds. Once that first wash dried (about one to two hours) I wet the paper again around the yellow parts, however this time I brushed in some subtle washes of Rose Madder, intensifying the colour nearer the horizon.

An hour or so later, when that wash had dried, I wet the paper once again in carefully planned out shapes around the yellow parts to indicate where the next application of colour was going to go, some nicely painted in Manganese Blue for the sky. Finally, when the blue wash dried, I completed the sky with some much darker cloud shapes with a mix of Paynes Grey, Rose Madder and Manganese Blue.

Next came the fun of painting in the main subject of the boats, cranes and docks using a wet on dry technique with all of the colours mentioned previously and some Raw Sienna, Vandyke Brown and Lamp Black. All the colours are Winsor and Newton Artists quality and the entire painting was done with a Stratford and York size 20 synthetic brush. Sadly, this particular brush is no longer available but I do have a few for sale at my Studio & Gallery in Ponteland.

The painting titled River Tyne Sunset is currently on view at the North East Art Collective in Eldon Gardens, Newcastle upon Tyne where I also have a number of other original watercolours on display.

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North Shields, Fishing

North Shields, Fishing

North Shields, Fishing

A few weeks ago I was doing a watercolour demonstration for a class in Rothbury. As part of the lesson, I was showing the students how to begin a painting, in particular the sky. This is often the most difficult part of painting a landscape or seascape and can be quite daunting for the inexperienced. I was working on several paintings that day, one of which was this 12″ x 9″ watercolour of some lads fishing off the Fish Quay at North Shields.

I was working off two photographs, one for the sky, the other for the figures and River Tyne reference. It was a scene I had painted on location about 10 years ago, so I was well familiar with the view. I began by laying a very pale yellow wash over the whole paper which I intensified at the point of the horizon. When that dried, I went over parts of the wash with some Rose Madder which you can see, particularly in the water. Once dry, I began to pick out some of the blue in the sky with some touches of Manganese Blue. Finally, after mixing the colour for the darker clouds with Rose Madder, Manganese Blue and Paynes Grey, I painted in the dramatic, carefully positioned clouds to bring a strong sense of mood and atmosphere to the composition.

I completed the painting in my studio in Ponteland which will form part of my Christmas Exhibition starting in November which will include other paintings of the North East, Italy and the Middle East too.

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Burnham Overy Mill

Burnham Overy Mill is just a short walk from Burnham Overy Staithe in Norfolk. It’s a delightful area for any landscape artist to paint with the low lying land, estuaries and big skies. We’ve stayed there as a family for the last two years and I’ve seized the opportunity to paint on location, rising early to capture the early morning sunlight and often disappearing after our evening meal to take in the fading summer light.

As we were driving into Burnham Overy Staithe for the first time in September 2009, I noticed the windmill and decided to do a sketchbook study later that evening. The light was fading, so I only managed to do the first couple of washes of Lemon Yellow, Rose Madder and Manganese Blue (which was essentially the sky and foreground) before the light made it impossible to paint any further. I returned the following evening to render the windmill and distant trees. A carefully placed application of Raw Sienna in the foreground enabled me to pick out some of the bales.

A few days later I decided to do a day time scene, adopting my usual method of working on a sketchbook study and a watercolour on a 14″ x 10″ Arches Block of rough paper which is available from many good art suppliers. I’ve posted a link to the Heaton Cooper Studio website which is worth a visit.

This time the light was more consistent even though the cloud shapes were constantly moving. Again, Lemon Yellow and Raw Sienna featured, this time for the first wash. Once dry, a mix of Manganese Blue, French Ultramarine and Payne’s Grey with a touch of Purple gave me the cloud colour. I had to be careful to leave a blob of white paper for the roof of the mill and a sliver of white for its sails. Once the sky was dry, I was able to knock in the rest of the windmill, trees and bales as before.

Whilst doing this post, I’ve had fun just flicking through my sketchbook, remembering the trip and feeling inspired to paint again on location. The 14″ x 10″ original watercolour can be seen at my studio & gallery in Ponteland and is also available online.

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