Today the plan was to visit the National Trust property at Trerice to work outside. As the property did not open till later in the morning we had a workshop session before setting out. This turned out to be one of the most illuminating hours of the week so far.
Charles was asked to say something about determining the consistency of paint as some of us were struggling to get it right. Problems in speedy drying and long drying characterise the different ends of the problem spectrum. As most of us knew the ratio of paint to water is the key to this but it is a difficult skill to master.
Charles demonstrates his range of brush strokes
The easel was quickly erected and Charles began a detailed exposition of his thoughts on the subject. Hopefully I can give a flavour of the wisdom passed down.
Firstly the routine should be the same each time. The brush is put into the water and the excess is shaken off. Then the tip of the brush is put into moist paint to a depth of between 1/8” and ¼”. The brush is then like a fountain pen the tip loaded with paint and a reservoir of water behind.
Next the brush is now applied to the paper tip first and then moved to an angle of about 45°, from this point the brush must remain on the paper till the stroke is completed.
Comparing paint consistency
Working out paint on the palette should normally only be done when creating light middle to light values. Anything darker the brush should go from paint supply to paper.
The demonstration strokes
Light value strokes should not be gone back into, the risk of ugly stroke marks is high.
Don’t be frightened to be crude.
Some soft edges
Everything should be painted adjacently this will facilitate the losing of edges. You need sufficient paint on the paper to lose an edge, the brush is moved from outside into the paint area to create a path out.
At the end of the session we set off for Trerice in light drizzle and wind. This was to be the prevailing condition for most of our day there. Wet in wet easy to achieve and no early drying problems. The party split their time by watching Charles paint and making their own images.
Trerice series
Some soft edges
Trerice - Watercolour by Charles Reid. Not quite finished.
2 comments:
It's amazing what can be painted using a Pocket Box and a travel brush. Charles makes the impossible possible. Do you own a Craig Young palette Mick?
Ray- I certainly do, in fact I have two, a Paint Box, like the one in yesterday's post, and one of the lovely small boxes that you can see in the last photograph. Rain, drizzle, wind and he still produces something that inspires you with form,light and colour. Magical.
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