Weaskedtwomembers oftheRoyalSociety
ofMarineArtists–watercolouristDEBORAH
WALKER and president BEN MOWLL – about
the best ways to depict boats and waterWhat is the key to a successful
marine painting?
Ben Mowll: For me, success involves
some planning. You have to plan your
painting. Have a reasonably clear idea
about what it is that you want to say
before you start. That, in turn, will help
you to know when to stop, before you
kill your work by over-doing it... And we
have all done that!Ben, you paint in both watercolour
and oils. Does one or other medium
lend itself better to marine painting?
BM: Different subjects suggest a
different medium or treatment. They
are, essentially, two totally different
musical instruments. You have to
choose which medium best suits the
subject at hand. You may even want to
try painting the same subject in both.
That can be very instructive.Should I use a coloured ground when
painting a marine scene?
Deborah Walker: This is not really
applicable to me. The first job of a
watercolourist is to work out areas
where you want to reserve the whites
of the paper. If you’re trying to create
the effect of sparkling light on water,
for example, you might use masking
medium to conserve the white paper.Blue dominates a marine palette.
Which blue pigments do you use?
BM: Typically, if you look at our
members’ work, I think you will find
French Ultramarine, Cobalt Blue,Cerulean Blue and maybe Manganese
Blue, Indigo, Indanthrene Blue or even
an emerald green such as Viridian
plus maybe a violet or mauve which
can also be found in water. The best
thing to do is come along to our show,
look at the work and ask the artists.Do you have any tips on modulating
colours and creating interest in larger
expanses of blue water and sky?
DW: If I’m faced with an expanse of
what might look initially like a blue sea
and sky, I try to find just one blue that
will be suitable for both. I paint the sky
in very pale tints, and use stronger
combinations for the sea. By working
this way you create two different blues
which are harmonised.
I often use one of the Winsor blues
(Red Shade or Green Shade) because
they have a richness and depth. When
not diluted, they can be very dark but
with water they are very pale, whereas
Cobalt Blue will always be dark. I then
look for colours to add to the blue to
create many variants. By moving the
blue towards purple or green, it’s
possible to create a more three-
dimensional watercolour.Waves move constantly but I don’t
want to rely on photos to paint them.
How would you tackle them?
BM: I can only suggest going to the
coast and studying the action of
waves on the shore. Or, better still, get
aboard a boat. You don’t have to tie
yourself to the mast like JMW Turner isYOURQUESTIONSMarine
Art