Wednesday, 15 July 2015

School Playground WIP

No painting today as I am preparing for my upcoming illustration workshop at Marlborough College Summer School. However here are a couple of photos of the painting so far.
The drawing has been transferred and cleaned up with a 2H pencil.

Here the sky and trees well on their way and I've just started to block in the school and playground.

Thursday, 2 July 2015

Picnic By The Lighthouse

Picnic By The Lighthouse
Watercolour & Gouache
70 x 50cm
Here is the most recent of my large paintings. It was surprisingly quick to finish, mainly due to the vast sky and relatively small amount of characters.

My aim was to produce an accompanying image for 'Rescue From The Storm', maybe depicting the day after - I'll let you decide.

Tuesday, 16 June 2015

More WIP

I've spent the last day and half working on this and it's finally starting to come together.

Tuesday, 9 June 2015

Picnic By The Lighthouse WIP

Day One: Drawn up, masked and wet in wet blue sky
Day Two: Defining clouds, more masking fluid on the grass and blocking in
This is the sister painting to 'Rescue From The Storm'. The same lighthouse from a different angle and much more pleasant weather conditions.

I'm hoping to pick up my brush again on Saturday, which seems like an age away!

Monday, 8 June 2015

'Rescue From The Storm'

The finished painting.
'Rescue From The Storm'Watercolour & Gouache
70 x 50cm
I thought you might appreciate seeing the whole thing and a crisp detail, rather than the blurry excuse for a photograph I posted previously.
Detail: I might develop the Torchcliff setting in future paintings.

Thursday, 4 June 2015

A Sneaky Peek

Apparently some of these otters are 'catching a crab' - it's a rowing term
Recently finished but no scanner! A fuzzy photo will have to suffice. 

Monday, 25 May 2015

Rescue From The Storm WIP

"Paint, paint, paint, paint, painting!" (requires sing-song voice)

Friday, 22 May 2015

Illustration Masterclass, 27 - 31 July, Marlborough College Summer School

Artwork by Arnaldo Putzu
I'm very pleased to announce, I will be teaching a full time book illustration workshop for 5 days at Marlborough College Summer School, 27th - 31st July.

The course will be focusing on illustrating the classic children's story 'Swallows And Amazons' by Arthur Ransome. Summer japes and a jolly good adventure in the English Lake District - what could be better?!

If last year is anything to go by, the course will be lots of fun and hopefully participating students will learn a huge amount - if not, there is always the free food!

Course fee: £370
Click this link for more details.

Monday, 18 May 2015

Woodland Party "Behind The Scenes" Final Instalment

For my previous posts click here, Part 1 and Part 2

Below are a series of progress photographs taken as I worked my way through the painting.
Moving on from basic blocking in of colour.
You can see here I am starting to get past the local colour stage and really moving into finding form using colour. For example look at the fox playing skittles. He is lit from the top by the warm glow of the lanterns (lots of cadmium yellow, yellow ochre and burnt sienna), however the majority of his head is facing away from the light so he is picking up the cool colours of the wood in shadow so (more prussian blues and greens).
I could have been more thorough by adding an aardvark and zebra.
By the above stage, I had just about painted the furry aspects of each critter to a suitable standard. Believe it or not, I had a folder of animal reference on my laptop that I methodically worked through from A to B (or badger to wild boar). I didn't move on to the next creature on the list until I had completed the one before it. I found it helped to break down the painting into manageable chunks by creating these small milestones to tackle each day.
It's hard to tell from the above photo, but by this stage I was concerned with the lack of depth in the image. I decided to darken the bottom edges with cool colours to hopefully lead the eye further into the middle of the scene. The bottom edge now acted like the sides of a stage design by framing the scene and providing more perspective. Note how in the final image below I darkened the sky in the far right background, again to push that further away from the tree in front.

I also completed the lanterns by deciding to keep it simple by using just yellow ochre where I could. I felt they would glow more if I depicted less detail, as if they are so bright they would be over-exposed in a photograph.
Woodland Party
Watercolour & Gouache
66 x 45cm

Job Dunn (pardon the pun)! I was pleased with the final outcome as it came very close to realising the fuzzy image I had rolling around in my head at the rough drawing stage. However I wasn't pleased when I had removed the painting from it's board, scanned and stitched it together on Photoshop, only to find I had forgotten to paint the skittle ball being held by the rat! As you can see I fixed that and then double-checked the whiskers on every animal, which is normally the thing I forget to do at the very end.

I hope you enjoyed this series of posts. If you have any questions, please feel free to ask, either on the blog or Facebook.

Wednesday, 6 May 2015

Woodland Party "Behind The Scenes" Continued

See my previous post here.

My drawing was approved so it was time to start work on the painting.

The process to get the finished drawing on to stretched watercolour paper can be a bit tedious but it has to be done. Firstly I enlarge the scanned rough drawing in Photoshop and then I print the image on A3 layout paper. The layout is just thick enough to go through my printer and thin enough to act like tracing paper. This enables me to trace on the reverse of the printed image, with a soft pencil and then place it on the watercolour paper and transfer using a bone folder. Some people like to use biro pens for transferring because it's more accurate, however rubbing with a bone folder is very quick.

I remove the print and find the soft pencil has transferred enough to give me a ghost image on the stretched paper. I then go into the drawing with a 3H pencil and very carefully outline everything I need and tidy up any areas that are not legible. By using a hard pencil, I'm able to erase the softer lead and wash watercolour over the top, all without losing the important line work. If I were planning to keep an area very light I might not use a pencil at all, just because the pencil line might show and distract from the overall image.

Once the line work is completed I start an under-painting in sepia watercolour (see below)
The finished under-painting. If you look carefully you can see lots of the original line drawing, especially around the lanterns hanging from the oak tree.
The under-painting serves me well throughout the whole painting process. It maintains an overall warm hue as the majority of the painting will be in transparent watercolour. Also it helps to create tone and define characters in a complicated scene, and it provides me with a useful beginning step into colour because I know, whatever colour I glaze on top, the under-painting will hold the composition together for me. There is nothing worse than having to re-draw a section because the paint has washed away the initial compositional drawing.
Colour decisions being made - there's no going back!!
Under-painting finished, time to get out the colour palette! I start by blocking in the local colours (i.e red for the badger's jumper, green for the leaves), at this stage I'm not thinking about reflected warm or cool light. I have a good idea how warm the final painting needs to be, so I make sure there are lots of yellows, reds and browns, however when it comes to the clothing I either make it up there on the spot or research some old Edwardian photos to get an idea of pattern and arrangement of colour.
Working mainly on the background.
There are so many decisions being made at this stage, such as how best to depict bark on the tree trunk, does it need to have a warm into cool transition, how much light do I need to show around the lanterns, how much detail in the lanterns is required, what colour should the sky between the trees be and why did I decide to paint such a complicated image?! That last question kept on being asked.