http://www.painters-online.co.uk artistMay 2020 33PRACTICAL
M
y first article in this series
(March 2020 issue) took
us on a journey using a
photographic reference as
a starting point for small, quick studies
to develop an idea and then take it
further with the finished painting. The
second article (April 2020 issue) focused
on a sketchbook study from life as the
inspiration; in the finished work I tried
to capture the heat of the midday sun
as beach life drifted by.
For this final article I have focused
on a plein-air day at Windsor Castle, for
which about 50 artists were selected.
We had the privilege of working around
the extensive grounds and it was a
once-in-a-lifetime opportunity to grasp
and savour.Play of light
In my work I strive to capture the play
of light on surfaces and people, usually
in ordinary situations. This opportunity
presented me with what some might say
was a daunting challenge of this grand
historical backdrop steeped in history
and the need to suggest a relaxed
gathering at a particular moment in
time.
I went prepared for all weather
conditions and chose a position that
enabled me to focus on the entrance to
St Georges Chapel. At 9.30am, the light
was stunning and I strove to capture
that in my work. It is important to be
consistent with your light source; set
your light source at the outset and
keep it consistent, do not change
halfway through your work. You must
have an idea of what you are trying to
achieve which, in this instance, was aFigures
alla-prima
Brian Smith concludes his series on capturing
figures in watercolour by sharing a painting he made
during a plein-air painting day at Windsor Castle
crowd gathering around the entrance,
suggesting an event at the church.Narrative
For me the narrative is important as it
draws the viewer into the subject. As
you can see from the photos, various
artists were choosing different areas
of interest. Remember to be true to
yourself; challenge is a good thing
but choose subjects that interest you
and have knowledge of. In my case it’s
people and structures. When a figure
clad in dark scarlet robes appeared at
the entrance to the chapel I instantly
knew that he would be an important
component of my painting.
My viewpoint at eye level, about
halfway along the path, allowed for both
foreground interest and the structure
of the buildings, which were above the
eye level. The distant building had a
flag to create interest. The light was low,
filtering across the subject and striking
the entrance to the chapel; the dark
of the entrance interior would create
drama against the scarlet cape.
I am aware this setting has been seen
on television on many occasions, as the
backdrop to memorable formal royal
moments. This history and grandeur
of St. George’s Chapel is imposing
but I was not trying to produce an
architectural detailed rendition of the
building– my intention was to suggest
the status of Windsor as a foil to the
hopefully relaxed crowd.My aims
The building has wonderful character
and detail but it should not look stiff.
I did not want straight lines and urgeBrian Smith
runs classes for watercolour painters,
demonstrates to art societies and tutors
workshops at West Dean College and
Higham Hall, among others.
For more information visit:
http://www.briansmithartist.comBrian’s plein-air set-up
l My old Winsor & Newton box
attached to a tripod with a home-made
bracket. My box has enough space for
brushes, palette and water pots and my
paper is stored in a sleeve attached to
the lid of the box. The support board
is hinged in the centre to double my
working size. I use brown self-adhesive
framer’s tape to hold my paper to the
board
l 4B clutch pencil
l Watercolours – Daniel Smith
and Winsor & Newton tube paints:
cobalt blue, alizarin crimson, yellow
ochre, aureolin, burnt sienna, French
ultramarine, bleed-proof white and
cadmium or pyrrole red
l Brushes: a selection of rounds, sizes 4
to 10, large mop, 1.25 flat
l Arches 140lb 300gms FIN HP paper. It
was not necessary to stretch my paper
l Craig Young palette, which I have
had for 25 years and is numbered 21. A
lady on my workshop recently had one
numbered 2635!
l Julian umbrella