Wie ich mich an ein Motiv herantaste: zuerst mit einer sogenannten Notan-Skizze und dann mit einer kleinen Tonwertstudie.
Umsetzung einer Urlaubserinnerung aus den Flitterwochen plus Anleitung zum Übertragen komplexer Zeichnungen auf Aquarellpapier
Im letzten Beitrag ging es um Farben, ganz speziell um Rottöne. Ich habe vor kurzem nämlich einen neuen Rotton in meine Palette aufgenommen – und mittlerweile auch schon eine ganz leckeres rotlastiges Bild damit gemalt, hach, das war so toll!
Recently, I made a wonderful discovery which has changed revolutionised the way I go about finding subjects to paint, and today I want to tell you all about it. I went on, or rather I happened upon, a sketchwalk as
Hello dears! I hope you are all doing well. Do you remember my recent series on limited palettes? I used a different one each week in October last year (you can see the results and reflections about them here, here and
This is the fourth week in a row of me painting with a limited palette. I will introduce the current palette tomorrow. Why am I doing this at all though? I have already hinted at how my thinking about the
I have two weeks of painting with a reduced palette under my belt – what can I say about this approach so far? In the first week I used the Zorn palette adapted to watercolour: yellow ochre, alizarin crimson and
This week, I am experimenting with Anders Zorn’s reduced palette. As an oil painter this would have me using four tubes of paint: titanium white, ivory black, alizarin crimson or cadmium red and yellow ochre. As a watercolourist, I am
The other day, I let myself by inspired by a German sketcher who fills his waterbrushes with ink and then makes wonderfully monochromatic drawings. Totally the copy-cat that I am, I filled one of mine with W&N non-waterproof ink and
This wee painting was a workshop demo. My point here was to use a very reduced palette so as to work out the light-shadow pattern more clearly – the imagined light-shadow pattern, I should add, because it was overcast that