Light and Movement in Watercolour by Winkle Jake;Capon Robin;

Author:Winkle, Jake;Capon, Robin;
Language: eng
Format: epub
Publisher: Batsford Books

Durdle Door, Dorset

watercolour on Saunders Waterford 300gsm (140lb) Rough

32 x 46cm (12½ x 18in)

I don’t often paint in the traditional way, building up effects with layered washes of colour. But I felt that this technique would work well for the sea area in this painting.

A way of seeing

Initially, as well as gaining some confidence with the basic watercolour techniques, it is important to learn how to look at subjects and notice the way in which they are formed from a particular arrangement of shapes. To begin with, the tendency is to see objects rather than shapes, so you have to learn a different way of looking and understanding. Another point about focusing on objects is that we are more likely to make assumptions based on what we know about an object, rather than concentrating on what we can actually see.

So, it is essential to paint what you see rather than what you know, and to develop a painting in terms of shapes rather than objects. With a tree, for example, ignore the fact that it is a tree and look at its shape and the main shapes within that. What tones are those shapes? Are they dark, mid-tone or light? How do those shapes connect with others of a similar tone? Develop the painting in this way, by relating one shape to another, one tone to another, and so on. Look for the important shapes, because this is what will ensure a sense of energy, interest and coherence in the painting.

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