Paul started by telling us that he would be working from a sketch that he had already completed and, so that we could see it, he would be working with his paper vertical.  He explained that he was going to do some under-painting to start with. 

 

 

He started with the sky – making it quite light with pale washes.  He told us that he might add darker details later.  He used a manganese blue for this which was a light, summery blue.  He explained that he didn’t want to cover it completely but leave some white spaces.  The paper was a ‘not’ surface as he doesn’t like hot pressed and he doesn’t always stretch his paper.  This was a fairly large sheet (A3) taped to a board.  Sometimes he told us he would buy 300gsm paper in a large sheet which he would cut up to size – he found the water colour pads worked out rather expensive.  He also doesn’t use masking fluid.

 

He was going to keep the painting light through the centre of the picture as the light source was in the middle and straight above.  He wasn’t going to use the paint dry. 

 

So - keeping the centre white he painted a mix of two yellows – one being quinacridone gold on either side of the light area.  The colours were cool at the top and warmer as it comes down the page he told us.  He was used a broad brush for this under-painting but he would also be using a fan brush which would provide little gaps for the white (light) to shine through.  He painted more blue where the trees were, keeping little white bits coming through the trunks in the middle distance.

 

‘The green I use is perylene green’ Paul informed us ‘but mostly the colours I use are mixed to get the required shade. I try to blend the edges in as I go to keep it softer – using a broad flat brush - the edges of the stream can be developed later.  Acrylic inks are good for more intense colour.’

 

Paul then added crimson to the foreground and with the dark green shade (perylene green) he started on the tree. ‘You can run some water down the middle (of the trunk) or add a little white to make it more substantial.’ he said.  He was building up the tree shapes.  He added a little indigo to add more depth but still kept the area white in the middle. ‘It’s nice if you can get the paper to show through’, he said.

 

Paul wasn’t slavishly following the sketch, the work was more abstract playing with vertical and horizontal lines. He told us - ‘The bulk of the work will be in watercolour – that’s where you get the transparency.  It’s all about mark making for the composition – it’s not a slavish copy.’

 

Next he was using more of the manganese blue and indigo – keeping the same colours all the way through – now more crimson and perylene green to warm up the foreground.  ‘After this’ he said ‘I’ll start using the acrylic ink which is quite nice to use over the watercolour.’

 

After the tea break, Paul started putting in some darker colours prior to using the acrylic inks and the highlights.  Still using a broad flat brush and keeping it quite loose and impressionistic, he started blocking in.  ‘For the detail on the trees and branches I use a rigger brush which is great for fine lines’ he told us, ‘Also, the edge of a broad brush can also be used.’  He was building up a concentration of lines leaving gaps for the light to show through and keeping a contrast between very broad brush strokes and very fine.

 

Paul then started work on the reflections – looking for little bits to lift it out and give the painting depth. ‘I’m building up the washes’ he told us ‘leaving bits of white and paler colour to give a sense of glow shining back at you!  Already I’m beginning to think how I might frame it – which areas might be cropped.’

 

Paul continued - ‘I use the fan brush which  gives a nice foliage texture in the background.  I go over this again with a dampened brush – it’s about getting the contrast between lines – making softness and building up a texture of nature – of being out in the woods. I’m aware that the shadows are drawing the eye in to the focal point with bigger shapes towards the foreground. I haven’t got time for colour mixing so it’s more like drawing at the moment’.   He worked with the runs and used them to enhance his shapes.

 

With a drier brush he drew horizontal lines on the reflections to indicate ripples on the water.  With a rigger brush he indicated the undergrowth, and told us:

 

‘As each layer builds up and dries, I still allow the light to show through each time.  I use gouache towards the end.  If it goes wrong it can muddy the painting – because it’s opaque it can also lift the work.  I mix it with watercolour – so I might add a little yellow watercolour with it in order to highlight between dark areas.  There comes a point where you stop referring to the sketch and the painting takes over.’ 

 

‘Acrylic ink or gouache is good for spattering.  I use it for highlight and details - not for a wash – it just wouldn’t work.  It’s quite nice to use the acrylic to spatter – gives a good sense of foliage – you can do this with gouache as well.  Wait for this to dry and then come in with a lighter colour on top.  With spattering, use an old piece of paper or card to get the big blobs off before you use it on the painting.’

 

Time ran out… we had all been completely fascinated and wanted to carry on but as David explained we were only paid up till 9.30pm so we had to go home!  It had been a wonderful evening and an enthralling demonstration!

 

We’re all looking forward to the next time Paul, and also to seeing your final completed picture.  There had been something new for everyone and we all left with a feeling that we wanted to give it a go!

 

Thank you Paul – do come back and join us again!