A Brush With Art.pdf

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TOPSHAMObservationIn the programmes that follow, Iwill go into detailabout drawing, colour mixing, choosing alocation, composition, tonal values, and the manyother aspects of watercolour painting. But first Fmgoing to talk about observation.To paint well, you need to look at and seethings very carefully. It's one thing to stand on apavement and casually notice someone go into agreengrocer s shop. But if you had obser-ved thatsame scene in the same time-span, you might haveseen a much more accurate picture - that it was ayoung lady, that she was wearing a yellow dressand that the shop had a dark green painted doorand window frames and a bright yellow 'SpecialToday' sign in the window. You would also haveobserved that small white van parked at the side ofthe shop, and the telegraph pole in front with achild's bicycle leaning against it. And when theyoung lady came out of the shop, you would evenhave seen the large cabbage sticking out of hershopping bag!This is how you should look at a scene, evenbefore you start to paint it, although naturally youwill continue to observe it carefully while you arepainting it. If you can train yourself to see likethis, drawing or painting your scene will becomemuch easier. In fact, soon you won't have to thinkabout observing because, as an artist, it willbecome second nature to you!16
T—//Bockingford 200 lb, 21 x 29 cm (8V4 x 1 1 V2 m)In the picture above of Topsham, there wasn't ayoung lady in a yellow dress coming out of thegreengrocer's shop, of course! But there wereplenty of things that I had to observe to be able todraw and paint it, as I will show you overleaf17
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Page 11 and 12: When somebody told me that there we
Page 13 and 14: IntroductionThere are many people w
Page 15 and 16: my advice and keep your materials s
Page 17 and 18: Whatman 200 lb Not (2B pencil)«.^^
Page 19: The 12 ProgrammesA course of easy-t
Page 23 and 24: Always observe reflections. Study t
Page 25 and 26: Three PrimariesSome colours that ca
Page 28 and 29: Painting Hay TorIdrew in Hay Tor wi
Page 30 and 31: useHound TorBrush strokesFor this p
Page 32 and 33: useUsing a No. 6 sable brushF This
Page 34 and 35: Painting Hound TorThe most importan
Page 36 and 37: '^m DaWLISHWarrenBeachComparing pap
Page 38 and 39: Second Painting: on Rough PaperWhen
Page 40 and 41: .-^X-î1AQuick sketchesThe beach is
Page 42 and 43: HiHarpfordChoosing alocationHarpfor
Page 44 and 45: Drawing with pencilYour pencil is,
Page 46 and 47: Design and CompositionIhave called
Page 48 and 49: Drawing HarpfordWith a reasonably c
Page 50 and 51: Shaldon BeachTonal valuesIf viewers
Page 52: Drawing BoatsStudents who don't lik
Page 55: Doodle to get used to the penUse ve
Page 58 and 59: Details from the painting/ didn't d
Page 60 and 61: 3 StudioPainting from photographsAf
Page 62 and 63: 4t«w
Page 64 and 65: Details from the paintingThe blue c
Page 66 and 67: Exeter QuayPainting treesExeter Qua
Page 68 and 69: Painting Exeter QuayWhen Ifirst saw
Page 70:
Paignton Zoowhat better place than
Page 73 and 74:
SS^-'^^^^r^^c'*»i4rh/s particular
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was only concerned aboutthe head an
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This area was builtup using simplew
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secret'. If I counted my steps firs
Page 87 and 88:
Even in summer, the weather in Brit
Page 89 and 90:
Exeter. I must admit that I wasn't
Page 91 and 92:
Gallery•"SP'sSC^*.M^^^!^:...
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Above: East Dart River, Devon.Cartr
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1Red Sails,Sidmouth.Whatman 200 lb
Page 97 and 98:
HdHAutumn Sunshine.Whatman 200 lb R
Page 100:
-XTi- %On the Beach.Bockingford 200
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