Tag: landscape

Edward Seago: The Hill Copse

As I mentioned the other day, I have been thinking about the bold washes as done by the British artist Edward Seago. He grew to adulthood in rather interesting historical times and while living contributed to society as well as the art world in many different capacities. As a watercolorist, he creates complex scenes with a broad swaths of paint. While not a great reproduction, at least in my opinion, here is Seago’s watercolor “The Hill Copse”.

You can read a bit about it at Bonham’s, which is where the above image is located.

This is a very monochromatic painting, but I expect the original was more rich in color than is shown. During Seago’s time, many colors used fugitive pigments, meaning they fade with time. Today’s watercolor manufacturers still produce colors which can fade, but many employ chemistry that is labeled as “permanent” and so do not use the original pigment formulae.

Two good examples of fugitive colors are rose madder genuine (made by Winsor Newton) and alizarin crimson. The rose madder genuine is still available, but it is important to know it can fade to a dullish brown. Many old colors are like this, and while lovely, makes one pause to consider when painting. I have this paint, and it is one of the prettiest pinks – and have dyed yarn and fabric with rose madder that I have grown – but fading is also part of its characteristics.

But I digress. I chose this painting because of the elegant simplicity of the washes to capture complex shapes. The sky is dramatic, the sandy track uphill to the copse, the sense of distance to the left – evident to the eye, and painted with amazing simplicity – suggestions of reality rather than a more complicated syntactically correct visual statement (hahahaha).

I interpreted the colors I thought would work here for my own “master copy” and chose ultramarine blue, cobalt blue, burnt sienna, burnt umber, yellow ochre, cadmium yellow, and Hooker’s green.

Obviously, there are differences in Seago’s painting and my own, but I do think I managed the overall simplicity of the washes and colors. As with all watercolors, white paper is left for brightness and interest, and wet-into-wet was done along with wet-onto-dry. To keep things simple and think about the shapes prior to plopping down color was foremost in my mind, but at the same time I considered the original painting an pondered the techniques used by Seago while painting.

This is quite the challenge for someone like me! But, fun was had, and I think I will continue to both reproduce some of Seago’s work as well as reconsider how I paint new subject matter.

Master copy, watercolor, Hahnemuhle 140# / 300 gsm CP paper, 9×12.

A Palm Tree, ii

After my satisfaction with yesterday’s watercolor and my ongoing interest in palm trees, I thought about a couple of things. First, I need to get over my fear of buildings. Second, I need to paint more palm trees! So, I decided to use a photo I took awhile ago and posted here to use as subject matter. Below is the original photo which was taken at the Santa Barbara Zoo, near the condors (I think). The zoo itself is a wonderful resource and is always undergoing change and development. I’ve been going there for decades and always like it as it is large enough for a good visit and small enough so you don’t have to move in for a few days!

A Palm Tree

The photo itself is nothing especially exciting but it does give a good display of palm fronds. I am not sure what species this palm is, but it so classical! As well, there are some dracena palms on the right by the lights, which are very different in growth pattern that the one front and center.

Part of me wanted to make the painting simpler, but I also wanted to suggest a bright, sparkly day. The photograph was of a rather hazy day so I had to use a bit of imagination to get the fronds to catch the glittery appearance such palm fronds can have, especially in intense light with a bit of a breeze.

Overall, I like the way this painting turned out. I had to do a bit of glazing to tone things down here and there. Splattering helped for texture. White gouache to do a bit of glare here and there. Yesterday’s painting of an adobe reminded me how easy buildings can be, and today, though simple areas exist in the form of walls, the roof was a bit mossy from the damp of being a few blocks from the Pacific Ocean.

As a quick after thought, I think that the palm tree – the dracena – emerging from the right side of the building is perhaps unnecessary. Into Photoshop and tree removal very poorly done with generative fill – just because I can and could.

Watercolor, Arches 140# CP paper, 9×12.

Too Dark

I just realized that if I want to do good – in my eyes, of course – or better ink and watercolor drawings, I need to work a bit more on my colors. For many years my colors were anemic and paintings ended up pale and wan. To compensate, I made my colors more intense – more pigment, less water. However, I think if I really want to do ink and wash, I need to learn to moderate the color intensity a lot. Next painting I do will have color swatches on another piece of paper before applying them to the paper.

This is a very contrasty painting – and it doesn’t really play well with the eye. The shadow along the dirt road, on the left, is too green. The darks between the trees, from shadow and overgrowth, are not well done. I liked the ink drawing but think I could have made better color choices. Unfortunately, when you use a limited palette of only 10 basic colors, color mixing becomes a bit of a challenge. That is not to say these were not good quality paints – they are Schminke pan paints which are very intense – but I need to work more with moderating the colors.

Well, I didn’t paint anything yesterday, but I am beginning to work on cleaning up and getting rid of stuff. Yesterday I worked in the garden, straightening things up, getting rid of debris, and taking apart the drip system. With fewer plants it is unnecessary. This morning, sorting through clothes and mish mash in the in the garage.

However, painting continues!

Sketchbook across 2 pages, about 6×16 inches; ink and watercolor.

Under the Cottonwoods

Cottonwood trees make bright yellow splashes of color in autumn. The dark trunks and limbs curve in between and the drama of these trees cannot be underestimated in the muted colors of the desert. For me, they epitomize the southwest in fall, and to see them in full color is really wonderful.

Here, another painting in gouache, and this time one that was difficult to do. Somehow I don’t think it has the crispness of the day I was trying to express. The drama of the light – dark contrast is there, but perhaps because the leaves of the cottonwoods are always more detailed in my eye than is shown here. At first I thought my scanner was a bit soft, but I really don’t know. Oh, well!

I did this painting on tan toned paper. Perhaps that adds to my sense of it not being quite what I wanted. Below is the original painting in my sketchbook.

Whatever – it is certainly something for me to think about. Gouache is opaque unless really diluted, so I am not too sure how much the toned paper is affecting my color perception.

Gouache, 9×12 toned paper, painting about 7×10.

Winter Water

Having used a lot of gouache colors in my palette, this is a deliberate effort to see how I can make a primarily white painting. Snow, of course, is the best subject.

The two whites available for gouache are zinc white and titanium white. Zinc white is more transparent and works very well with colors to lighten them. It is not as bright as titanium white. Titanium white is more dense and opaque, and works very well for areas you want to be very white – such as white caps on waves and here very bright areas of snow.

Besides the two whites, I kept my palette limited to most ultramarine blue, burnt sienna, yellow ochre. A touch here and there included some orange, yellow, and umber to mix colors I needed.

Strathmore Vision CP 140# watercolor paper; gouache; 9×12.