Charles Reid at Burford - Third Demonstration, Still Life

Our third demonstration was the perennially popular still life session where Charles puts together a selection of artefacts, fruit and flowers to make an arresting image.

The Set Up

Charles regularly states that he likes a haphazard arrangement reflecting the way objects are left rather than the more formal arrangements liked by some still life painters. For him the arrangement should have lots of connections between the various artefacts.

As usual the drawing is done in the contour style, pencil remaining on the paper. The first thing drawn was the vase and all the other elements were drawn in relation to it. There was very little detail in the blooms.

The Drawing

The first strokes of paint were foliage, placed in such a way that they created a series of negative shapes, particularly around the white blooms. The foliage colour was largely mixed on the paper and the different pigments can be seen in the photograph.

The First Strokes

The next photograph shows a detail where you can see the range of pigment used in rendering foliage and blooms.

Detail

In moving around the painting Charles makes sure that he paints connections and often has pigments running into each other as he does so.

Moving Around

As he moves around and begins new passages he ensures that he keeps his brush on the paper till requiring more pigment. The same routine with the brush is followed each time. The brush is loaded with water, excess is shaken off then the brush is put into the pigment which is kept at a moist consistency before being applied to the paper. He then ensures that the contact with the paper is made with the whole of the brush and not just the point. Brush longevity is a consideration when using expensive sable implements.

The background of the painting is hinted at with a few splashes, warm and cool, to provide a little texture. Splashes are a regular technique used by Charles who is likely to add a few whenever he thinks that he is tightening up.

Another great demonstration.

Still Life - Charles Reid, watercolour on half sheet

Charles Reid at Burford - Second demonstration - Portraits

The second demonstration that Charles set up was a portrait session and unusually he declared that he was going to produce two portraits, one profile and another in three quarter view. As always the session started with Charles producing a contour drawing. During this segment we were to listen to many sound tips in relation to making the original drawing. 

"Begin by putting down a light oval shape to delineate the placement of the head.

Draw a line around the curve of the oval to mark the line around which the central features are arranged.

Start the detailed drawing at the eyes or nose and relate everything back to them.

Place mouth with dot relating to the eye.

Many people make noses too long, beware of this.

Keep stopping and checking whilst keeping the pencil on the paper. 

Draw in shadow shapes".

Initial Drawing - note shadow shape beside left eye and small demo of an eye at top

"Begin painting  around centre and put in dark shapes.

Draw in shapes with the point of the brush then soften them".

Charles spent some time showing the choices he makes to produce his flesh tones and shadow shades, these can be seen at the bottom of the sheet. The colours will vary according to the individual's complexion. Simply they consist of Cadmium Red Light with a yellow from Cadmium Yellow Light, Raw Sienna and sometimes Burnt Sienna. The addition of a blue creates the shadow and the choice is judged by the value required, Cerulean, Cobalt and Ultramarine being his choices, light to dark.

Profile - Charles Reid, watercolour on half sheet

Charles then moved onto the second view of the model with the same routine in terms of drawing.
In this picture it is easier to see some of his construction lines in this picture. Note the line delineating the central features and the arc across the eyes. You can also see the oval placed to indicate the nose position. Most of these lines are reduced by eraser so that they are lighter than pictured here but many are not removed altogether.

Three Quarters view - Drawing

Initial washes

Sheet layout

Three Quarter view completed

In the above photograph you can see the notes that Charles appended. Here he emphasised the technique he uses next to highlights. The hard edge next to the highlight is placed and keeping the brush on the paper the pigment is worked away then softened.

Two Portraits - Watercolour on half sheet by Charles Reid

Charles Reid at Burford - First Demonstration

As mentioned in my last post, events conspired to curtail my opportunity to work with Charles Reid on his latest visit to England. However I did get the chance to spend a couple of days with the master during his second week here in Burford. The activity on his first week at Stow in the Wold has been well reported by my friend Peter Ward on his blog to be found at www.watercolourfanatic.blogspot.com. 

Instead of the usual day by day report, this will be slightly different in that Charles broke from his normal pattern of making one demonstration per day by completing two on one of the days that I was able to attend. So from two days I managed to see three demonstrations, a bonus for me.

As is his practice on these occasions Charles likes to do some work from old monochrome source material and usually provides a choice of images culled from vintage photographs. This time some of the images were drawn from the famous Sutcliffe collection, depicting people in the environs of Whitby plus one or two images like the Sargent portrait that I selected for my effort that day. Charles used two images from Whitby as his inspiration. The importance of using monochrome images is in the demands it makes of the watercolourist in terms of drawing but more importantly the rendition of values without the visual crutch of original colour. The focus of the artist then becomes establishing accurate values and leaving colour choices to the taste of the individual. It makes for interesting choices for the artist. 

Charles is a keen advocate of the contour drawing method and he makes great emphasis of the need to keep the pencil on the paper whilst making the drawing, even when moving across the image from one segment to another. The emphasis is all to do with establishing accurate relationships between the various elements of the picture. 

Initial Drawing

Planning the picture requires giving some thought to the proportion of figures within the space available on the paper.

After completing the drawing the time comes to begin the application of paint. Charles invariably begins work on the central features of the face. This could be the eye socket, nose or the central portion of the mouth. Each stroke is applied and worked towards another area, his maxim being, 'Place a stroke then soften an edge'.

The Face Emerges

Moving away from the centre line the importance of making good shapes is emphasised, 'Good shapes make good paintings'.

Another important point is the in relation to the accurate value relationships. Unlike many watercolourists Charles likes to begin with the placement of some dark values, thereby having something to relate to when making middle and light values. It is important to to have a clear idea of where these relative values lie.

Developing the Figure

After developing the figure Charles begins work on the boat, an important compositional element.

Overall Composition

Boat Detail

Once the work on the boat is complete The whole piece is tied together by the addition of the background and sky, lightly applied and impressionistic.

Final Image - Watercolour on half sheet by Charles Reid

The major teaching points made by Charles in this session were as follows:

Good shapes make good paintings;

You should always be able to see the point of your brush, this gives you more control over your shapes;

Keep pencil on the paper when drawing;

Keep the brush on the paper when making shapes;

Place a shape, press and lift off then soften an edge;

Always try to have about half of your shapes have soft edges;

Look for relationships between shapes and make connections;

Look for intersections and use them as connections;

Start with darks first;

Check out values, where are the mid values?

Paint shapes with harder edge next to the light then work into the shadow;

Make sure you have colour changes in the darks;

Always try to make a balance between warm and cool colours in your shapes.

Another inspirational session and the reinforcement of many of the ideas that Charles has been espousing for many years. 

Back in the Saddle

After a few little local difficulties, medical and bereavement I've managed to get a little painting this week. I was originally scheduled to be on a course with the wonderful American painter, Charles Reid, but events conspired to stop me going on my original booking. Other complications made it just possible for me to attend two days with Charles during this week and I will post something about it when I can get round to it. In the meantime my fellow blogger, Peter Ward (watercolourfanatic.blogspot.com), is recording his experience with Charles during last week. Recommended reading.

One of the exercises that Charles likes to have students work at is one where you take a monochrome photograph and make a painting based on the image. This is my effort during one of those sessions. The photograph I selected is a well known shot of John Singer Sargent at work.

It was wonderful to get the brushes damp again after an enforced break. Not quite finished off but satisfying nevertheless.

John Singer Sargent - Watercolour on Not paper 16" x 12"

My Charles Reid Experience

It would be rude to leave the topic of my week in Cornwall with Charles Reid without showing a little of the work that I produced during the week. I've selected three pieces that are representative of my work during the sessions.

The first piece is my working of the still life set up that Charles had used in his morning demonstration. I'm rather sorry that I didn't take development photographs as I went so that you could see the process that I followed. Apologies. Charles on his walks around the room commented that I didn't have the balance of soft and hard edges right in the flowers. He then took a page in my sketch book and demonstrated what he meant with a couple of flourishes of the brush. I should have asked him to sign it. He did a few of these personal little demonstrations during the week but he never makes a mark on anyone's painting.

Still Life Crantock - Watercolour on Not paper 16" x 12"

The next piece was done on the first day from one of the old photographs owned by the hotel and depicts one of the life boat crew. I have mixed feelings about this one. Drawing inadequacies and poor colour selection haven't given the best result here. It's a subject worth returning to.

Crantock Life Boat Crew - Watercolour on Not paper 16" x 12"

The last piece is an interesting one for me. Charles encourages people to paint along with him as he does his demonstrations although only a handful take on the challenge and I'd decided that sometime during the week I would have a go. The picture below was done in my sketch book as Charles produced his portrait of Perry. My own larger portrait that I did later in the day was not as successful as this one. Is there a message there somewhere?

Perry - Watercolour on Not paper 10" x 8"

As you can gather the week in Crantock has had a real impact on me and I now have for myself a number of challenges to improve my watercolour technique. Not least is the enormous challenge of getting the consistency of my paint mix right time after time. You'll be able to follow my progress in that over the next few weeks as I try to depict my surroundings in Maine over the next fortnight. That is if the fog clears over Heathrow and I make my flight to Boston. You receive this early posting as a result of flight delays at Newcastle Airport.

Charles Reid Day 5 (Part 1)

Democracy, Repercussions and Recriminations

A picture of concentration

This post will begin with a Public Health Warning,( No! not the Sock Show below) it will be a bit different to previous posts in this series although somewhere or other the expected highlighting of Charles’ work will take place. For the rest of it if you weren’t here it may not make any sense and is really for the amusement of course participants.

And the winners of Finely Turned Ankle Competition are.......

Abroad in Crantock is a malign influence, sometimes impugning the integrity of the equitable and democratic table service. Two nights ago in response to the regal wave of Queen Judy, an agent for the Dark Side sat down to dinner with our esteemed teacher and wife. In the course of giving suitable tribute and sycophantic obeisance a note of mischief entered the discourse, suggesting that to sit with our leaders ensured early service, the essence of preferential treatment. As you might expect lots of offended denial took place and it became clear that there was to some interesting manoeuvring before the following night’s meal, in an attempt to disprove the impudent theory from the Dark Side.

The next night followed and new seating positions were adopted in a clear attempt to disorient the staff and create a slower service for our star attractions. Was this a set up behind the scenes? What transpired? Well our leaders’ table ended up being the last to served and by some margin. One starving, strangled voice was heard to croak, “We’ll never sit on this table again”.

Now then did we witness a strategy that went wrong or was there some subtle double bluff taking place? Tonight will tell, what is for sure is that our resident Imp will be cast into outer darkness and suffer the exile that he deserves. Or does he? Is there another twist in the tale yet to be revealed?

Those interested in painting are probably best starting here.

The class was asked which type of project that they were interested in pursuing and a majority opted to attack another still life.

The demonstration is self explanatory and all I need to say is that it was another demonstration of the highest quality. The following pictures tell the story.

One interesting question that arose was whether or not Charles had a battle plan when he sat down to begin his painting? He replied, “No, I like to come to it fresh as if I hadn’t done it before”. So much for all the formulaic teachings of many self styled experts.

Still Life - Drawing

First Pass

Development

Third Stage

Is it finished?

Still Life - Watercolour by Charles Reid (Spot the difference between this and the previous one).

Charles Reid Day 4 - The Dance of the Size 10 Kolinsky

The Dance of the Size 10 Kolinsky

This was a day that many in the party were looking forward to – Still Life.

A set up was laid out including flowers, fruit and some crockery. Charles spent a little time moving pieces in and out of the arrangement till it had the loose but connected arrangement that he strives for.

Judy Reid had suggested to Charles that he make today’s piece on A paper called Schut Flamboyant. It was a paper that I’d never seen before with an interesting undulating texture. It soon became apparent that this paper or at least this sample was not suitable for the approach that Charles intended to use. His first wet wash soaked into the paper and rendered the surface very soft to the touch.

Drawing on Flamboyant - note the texture

Charles decided to abandon that idea and set up a sheet of Schut Noblesse instead. This had us back on track and he began again.

Value Scale Sketch

In his first few comments Charles used the term ‘value’ and as he often does he asked if everyone was comfortable with his use of the term? One member expressed a lack of certainty so Charles quickly produced a six step value scale in pencil to illustrate his explanation. And then like any good teacher he checked the learning by asking a series of questions about the values of various elements of the composition.

Still life - first pass

After that little interlude Charles began. The first passage that he produced was done quickly and with the utmost skill with the brush. His Size 10 Kolinsky Sable literally danced across the paper and producing the most wonderful subtle effects. A bravura performance and hence the title of today’s post.

First Pass Detail

Aborted beginning on Flamboyant

Still life - Stage 2

Detail

Still Life - Stage 3
Set Up

Gilles entertains other participants

Peter and Sally examine the Man's palette

Still Life - Watercolour by Charles Reid

Charles Reid Day 3

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

Trerice - Watercolour by Charles Reid. Not quite finished.