Painting Tips

Finding a subject on location "How do I find a subject on location?" is probably the most frequent question I have been asked as a tutor. It is a question that is not easy to answer. I have been painting and sketching outside for over forty years and have many sketchbooks filled with subjects which I have observed and recorded. I suppose when we first go out into nature to sketch we look for that 'perfect' subject and never seem to find it. I always think that the time we spend outside is valuable and should be not be wasted driving around but we should settle in a likely spot and really explore what is there. Use a view finder to isolate subjects and do quick sketches to see what can be delevoped from them. At first choose a tree rather than a wood or a cottage rather than a village - keep things simple - sometimes splendid sketches and paintings can be produced from simple subjects, especially in watercolour. There is no better feeling than returning home with a few successful sketches from a day out in the field. Maybe they will not all turn out to be useful to paint from but the experience will have been very worthwhile and act as an aid to our development as an artist. I think I am fortunate to be able to go outside and find a subject fairly quickly but I am convinced that this is because of all those years of experience. ------------------

------------------ To summerise then : Do not drive around for hours, stop at a likely place and explore the possibilities. Use a view finder to isolate a view. Do quick thumbnail sketches - it is surprising what these can show up. Making a list As you travel around in your daily life and you a see a view that looks likely to produce a good composition for a sketch or a painting, make a note of it at the first opportunity. I always carry a note book with me and put in the details of the place and time of day. It contains loads of possibilities and when I go out I have, at least, a starting point to head for. It does not mean when I get there it will be suitable but usually it leads to something else worthwhile. Coastal scenes are usually an exception, there seems to be a subject wherever you look. Remember - keep it simple, unless your style is one where you require plenty of accurate detail.

Using Water Soluble Graphite Pencils

On a visit to the Isle of Wight I carried out a series of sketches using water soluble graphite pencils (Derwent Sketching Wash pencils). I find this a very rewarding way to sketch, the materials are easy to carry and the sketches can be done quickly, which is ideal when you are on the move. To save carrying water I use a water pen. My usual method is to start by producing a quick, very loose ink sketch and then adding tones with the water soluble pencils. Finally, using the water pen, I create the watercolour tones taking care to note the recession of the tones ( i.e. getting lighter as they recede) which I find so important. If you are new to these pencils I suggest that you firstly carry out practice in creating tones similar to the ones below : Below are a couple of the sketches :

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Sketching
I consider sketching and drawing to be the basis of good painting.
Therefore I think it important to do as much sketchbook work as possible. The more you do you will, hopefully, become a better draughtsperson.
I always suggest that landscape painters carry a sketchbook with them at all times and sketch as often as possible but, of course, sketching can be carried in the comfort of our homes, choosing household items or setting up a still life.
I carried out the following exercise by setting up a group of daffodils and sketching them, in pencil, from different angles.
This was a challenging exercise but was exciting and satisfying to do. Why don't you have a go at it? You may download the project sheet without infringing copyright or, better still, set up your own group of daffodils. Best of luck, let me know how you get on.

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Starting with Colour
As a tutor I have found from experience that many adult students, starting to paint for the first time, choose far too many colours at the outset. They may have been bought a box of watercolours as a present or gone out themselves and purchased tubes of paint without any guidance on the most suitable ones to choose from the vast array on offer at the local art shop.
Starting to paint, they often use six or seven colours and can soon become discouraged when their paintings turn to mud. My approach is opposite to this. I suggest starting with the minimum of colours.
On my watercolour workshops we start with one colour, thoroughly exploring what can be achieved with it. Next, two colours - see the illustrations shown in the April 1998 article on the 'Articles' page of this web site to see examples of what can be ahieved with this approach.
The obvious next stage is to progress to three colours. Choose a blue, a red and a yellow and you will probably be surprised with the amount of other colours and tones which can be mixed from this small palette of colours.
For oil painters I suggest : French Ultramarine, Cadmium Red and Yellow Ochre. Experimemt and produce your own colour chart similar to the one below (use Titanium White to create the tones).

Having completed your chart you should now have gained experience in colour mixing and be aware of what can be achieved with just three colours. Now experiment, using the colours you have produced, in a painting.

For those wishing to paint in watercolours I would suggest the following :
Paintings in one colour - Paynes grey.
Paintings in two colours - French Ultramarine and Burnt Umber
Paintings in three colours - French Ultramarine, Light Red and Raw Sienna