HOW I PAINT
whole plant and the patterns of
criss-crossing stems. I largely
dispense with drawing, using only
minimal sketches to make a map of
the subject, which will allow you to
know roughly where things will go but
will not be restrictive. The focus is on
shapes. All plants are composed from
a variety of shapes, and a painting
can be created by putting all those
different shapes together. Prominent
flowers were the first to be painted,
wherever they may occur – partly
because they tend to wither first.
Foreground buds, shoots and leaves
were also started early, before I
gradually delved backwards. Finally,
I applied atmospheric washes around
the plant to give a feeling of the
location: sky above, earth and
shadow below.
I would recommend a spirit of
generosity when it comes to using
watercolours: plenty of paint and
plenty of water. I use large white
plates for mixing so I can mix pools
of colour. Watercolour washes can be
confined or unconfined. Edges create
focus and precision.
Unconfined washes can be used to
create atmosphere, flowing rivers of
colour or background. One of the
most useful is what I would call a
“variation wash” [also known as a
variegated wash], in which one can
change tone or colour as the wash
progresses, letting the water do the
blending for you.
Consider whether you want to paint
on a dry or a wet surface. A wet one
will encourage a faster painting that
begins blurry, before harder edges
can be introduced as the paper dries.
Beginning with a dry surface is
preferable for a more detailed or
sustained artwork.
Painting on
a dry surface
is preferable
for a more
detailed or
sustained
artwork