New Artist - 2016__

MATERIALS
OHB pencil
OTracing/cartridge paper
OPre-stretched hot-pressed
watercolour block (Suzanne
uses Aquarelle Arches)
OTube of white gouache
OWatercolours: Lemon
Yellow, Yellow Ochre,
Vermilion Hue, Alizarin
Crimson, Permanent Rose,
Ultramarine, Cerulean Blue,
Dioxazine Violet, Sap Green

Suzanne trained as an illustrator

at the Camberwell School of

Arts and Crafts, London and has

since worked through agency and

private commissions. She lives and

works in Dorset and is inspired

by natural history and her local

environment. Her work is regularly exhibited through

London galleries and some of her paintings are also

reproduced in high quality limited edition prints.

MORE INFORMATION

Owww.suzannebalchin.co.uk

Suzanne Balchin

ARTWORK:

STUDY OF A NEST

ARTWORK:

SILK MOTHS ON PERSIAN CARPET

ARTWORK:

THREE PHEASANTS FEATHERS

Here, Suzanne takes us through

the creative process for one of

her stunning leaf studies...

(^1) Drawing
For greater accuracy I sketch
my design on to cartridge paper
using a HB pencil, focusing on
the large shapes, leaving out any
unnecessary detail. This drawing
is then traced and transferred
onto pre-stretched, hot pressed
watercolour paper.
(^2) Body colour
I use white gouache as a base
for my brushwork before starting
the watercolour process,
applying a thin layer across the
whole design using a number 3
rounded brush; I allow this to dry
before moving to the next stage.
This body colour ensures subtle
mark-making and gives the
pigment substance in the further
development of the work.
(^3) Under painting
I begin to paint in watercolour
Suzanne Balchin specialises in a dry brush technique that
allows her to develop detailed studies of natural history
with beautifully elaborate, textured backgrounds.
Horse Chestnut Leaf
Dry brush watercolour

S

uzanne Balchin
celebrates the intricacy
of natural forms in
her paintings. “I seek
combinations of textures, surface
patterns, colour and tonal
values to create concentrated
studies,“ she explains. “I set
natural forms against elaborate
backgrounds to make absorbing
compositions; the intense detail
draws the eye to explore the
intimate description of the
subject and its surroundings.“

using light washes of Yellow

Ochre, mapping out the main

tones using a number 1 round

brush; colours laid upon this will

gain a luminous quality unifying

the image. This is allowed to dry

before beginning the next stage

of the process.

(^4) Brushwork

• building colour
  The next stage
  of the process
  is to build
  colour. With
  a number 00
  round brush,
  I use small
  marks, loading
  the brush with
  pigment, but very
  little water, off loading
  excess paint on to a kitchen
  towel, keeping the brush dry.
  I start with the brightest colours,
  working light to dark and use
  creative brush marks that reflect
  the texture I am dealing with.
  Complementary colours are

introduced into the shadows

creating interplay between warm

and cold hues, adding greater

depth to the painting.

(^5) Accenting and highlighting
When I finish a painting, I re-
assess the tones. I accentuate
the very darkest areas with an
extra layer of brushwork
and also highlight
areas, teasing
out the form.
(^6) Glazing
As a final
touch, I add
light washes of
Lemon Yellow to
enhance certain
areas, taking care
not to drag the existing
mark making and brushwork.
This technique combines to
give the pigments an additional
intensity and glow.
Colours laid upon
a wash of Yellow Ochre
gain a luminous quality,
while applying a Lemon
Yellow wash finish gives
pigments additional
intensity and glow.