I enjoy painting water. And I don’t just mean small moorland streams or wide-flowing rivers. It might seem rather incongruous, but the humble puddle can be a wonderful thing. Quite often when walking and sketching the lanes near to my home in Devon, a once-unpromising subject can be completely transformed after a shower or prolonged spell of rain. Puddles form, unexpected reflections appear, and that unlikely subject suddenly seems to present a wealth of possibilities.
This was the case one autumn afternoon in Suffolk. I’d always felt that the bend in this lane had the bones of a painting in it. The problem was that the road was such a large part of the scene with few redeeming features, so there was a danger its blandness would dominate any potential painting.
However, after a morning’s rain, I was delighted with what I came across. Puddles had completely transformed the scene. The lane was full of captivating patches of blue and gold, the reflections from sky and tree. Even in the shadow cast by the clipped hedge, the recently formed puddles added an unexpected splash of colour in an area that might have appeared flat and lacking interest. It was time for a quick sketch [below left], a photo or two [left] and then back to the studio.
Rob’s materials
•Paper Two Rivers 300gsm paper, pre-stretched
•Brushes Sable, sizes 4,6,8 and 14; rigger, size 2
•Watercolour Quinacridone Gold, French Ultramarine, Winsor Blue (Green Shade) and Cobalt Violet, all Winsor & Newton Professional Watercolour; Green Gold and Burnt Sienna, both Daler-Rowney Artists’ Watercolour; May Green and Translucent Orange, both Schmincke Horadam Aquarell; Transparent Oxide Umber from Rembrandt Watercolour
Esta historia es de la edición December 2020 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición December 2020 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration