Confessions of a Colourholic

“Colour! What a deep and mysterious language, the language of dreams.”

Paul Gauguin

I am addicted to colour. Yes, I am admitting it. Colour thrills me. 

There once was a time when a small pocket palette of twelve colours was enough to satisfy the colour junkie in me, but no more! 

My collection of watercolour paints has slowly grown over time and I still want more!

Is there such a thing as too many paints?

A friend very kindly sent me some Daniel Smith dot charts this week which had me swooning! (Thank you M!) If you haven’t yet discovered their wonderful range of paints, then it’s definitely worth trying a dot chart. There is just enough pigment to whet your appetite and leave you craving for more.

Daniel Smith dot charts, M Garham paints, Pergamena vellum... heaven!

I'm a big fan of Winsor & Newton watercolours, and Schmincke Horadam paints are also fabulous. I have  just been sent my first couple of M Grahams. Apparently they are made with blackberry honey so that the paint flows beautifully... mmmm!!  The same colour can vary a lot from brand to brand, so of course, I will have to get one from each. 

It’s FOMO, that Fear of Missing Out… the thought that there might be that one elusive hue that will cure all your pigment woes!

With so many tubes and pans of paint, it’s impossible to remember the characteristics of each, so I have got into the habit of making colour charts. Sometimes I paint them into sketchbooks, but I’ve found that making them on small pieces of watercolour paper works best. They can be pinned on the noticeboard in front of me whilst I work, or stuck directly onto my easel, or even carried with me when I go out and about. When sketching outside, you might not always get a chance to paint, but at least you can colour match and make a note. 

These fresh dates are photographed alongside the corresponding colour charts 

Colour charts are also handy if you need to take a photograph of your subject. Photography can change the colours, but with a colour chart nearby, you have a guide as to the true colour of the subject.

My colour charts are often made of  little squares of pure colour. I tip the paper after I paint the square so that the paint falls to the bottom. That helps me see the characteristics of the paint, such as if it is transparent or opaque, granulating or glazing. 

I use a template from Rotring to draw my squares which saves time.

The charts that I seem to use most are my earth pigments. I can see at a glance what to use.

I also make charts of mixes. My general rule for mixes in colour charts is to only have two pigments. When I paint, I might add in a third, but it makes life easier to keep the colour chart simple. I have some earth ones- lovely mixes of greys and browns which are very useful. 

I sat down one afternoon and made a Mother of All Blacks colour chart. It was a cold, dark rainy afternoon, no good for painting, so I experimented to see which colours made the best blacks. To my surprise I found that my least favourite colours, Hookers and Viridian, made the most divine chromatic blacks, particularly when mixed with colours like Winsor dioxide. Honestly, these are the paints that rarely saw the light of day, but now I look at them with renewed respect!

What a wonderful surprise!! The full chart can be seen here.

Of course, the colour that truly drives most botanical artists demented is green. It just HAS to be mixed. I’ve yet to find a good green from a tube. I often hear people grumbling that their greens always look the same, and when I ask them if they have made a green colour chart, they say no.
How on earth can you discover which combinations make the best mix if you haven’t tried them all out? Yes, it’s time consuming, yes, it is tedious, but it’s well worth the effort.

Usually with greens, you need to add a smidgen of red, pink or purple to tame it. However to make a green colour chart, it’s best to stick to the two main ingredients. I put yellows down one side and blues and greens down the other. That will give me an idea of what to use. I will add the tamer (pink/red or purple) later when I go to paint the leaf.

A number of people have asked me about the colour charts in my sketchbooks. Sometimes they are just charts of all the possible colours to help me decide what to use. Often they are simply reminders of what colours I eventually settled upon.

Playing with possible reds and trying to see which what happens over a yellow base, and recording which greens have worked

When I have finished a study, I write down all the colours that I have used, and the combinations, often on a messy scrap of paper. It’s such a useful habit to get into. I very quickly forget what colours I have used, so writing them down saves a lot of time and frustration.

Yes, I do scribbly pages too!

The most useful thing about making a colour chart is that it is the best way to break an artist’s block. Every artist loses their inspiration from time to time, but a colour chart is a bit like doing musical scales on a piano. They don’t take a lot of thought, but the chances are that once you have got those fingers warmed up and the paint flowing, you’ll begin to make exciting discoveries. That urge to create will return.  Go on, pull those paints out!

As Paul Klee said “Colour is the place where our brain and the universe meet.”

“Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”

Wassily Kandinsky

The Sensitivity of Things - Mono no Aware 物の哀れ

Painting can be a journey of the mind. 

I have been contemplating the transience of life as I painted the little dead snipe this week. 

I came across a beautiful Japanese phrase Mono no Aware  物の哀れ (moh-no no ah-wah-ray), which roughly translates  as “the sensitivity of things”.

It refers to an awareness of the fragility of existence, an appreciation for it’s beauty and the gentle sadness of it’s passing.

Looking closely at a life that has passed

The term was coined in the 18th century by the Japanese literary scholar Motoori Norinaga to describe the essence of Japanese culture, but it remains popular as a concept in Japanese culture even today. An example of Mono no Aware would be the Japanese love of the cherry blossom. Every year crowds of people go out to sit beneath and admire the cascades of snowy blossoms, poignantly aware that these blooms will only last a week. Similarly a snowy landscape, the waning moon, the plaintive call of geese, even the ripples on the water of a lake can also evoke feeling of Mono no Aware.

Mono no aware is about the transience and bittersweet nature of life.

My snipe painting is also an example of Mono no Aware. I considered painting the snipe as if he were still alive, but decided that even death has it’s own quiet beauty, and so I chose honesty instead.

 Far from being morbid subject, it felt like such a rare honour to be able to study the beautiful patterns, colours and structure so intimately. The only thing that I recreated was the eye, which had not survived the nightly freeze.

There is transience even in death, and throughout the week I noticed the subtle changes, the slow decay. I’m glad that I made the colour notes for his legs the week before because they were the first to change. By the end of the week, the snipe was no longer looking his best.

Gallinago gallinago,  watercolour on paper  © Shevaun Doherty 2015

A dead bird is not the most obviously beautiful of subjects to paint, but I wanted to capture the evocative wistfulness of the moment. The Japanese believe that beauty is not inherent in an object, but only comes to into being when it is seen and appreciated. 

I hope I evoked that beauty.

Scarlet Tiger Moth  by Claire Ward

Another beautiful object arrived at my home this week. My friend Claire Ward sent me a stunning painting of a Scarlet tiger moth on handmade paper. Her work is exquisite- have a look at her website. It seems that like me, my friends are also stirred by the beauty and precious fragility of life.

"One's feelings are stirred up because he understands, deep in his heart, the moving power of the moon and the blossoms. The heart that is ignorant of this moving power will never be stirred, no matter how wonderful the blossoms are and how clear the moon is in front of him." Motoori Norinaga (1730-1801)

The Slow Approach

Plan like a turtle; paint like a rabbit.

Edgar A. Whitney

Sometimes starting a painting can be so daunting because there are so many aspects to think about. So I’ve become a bit of a plodder. Rather than dive in, I’ll take the slow approach and happily spend a few days just getting to know my subject first.

Flowers get pulled apart and painted petal by petal.  

Leaves are placed on the page and painted over and over again until I’ve found that perfect green mix. Just the simple pleasure of painting little squares of colour can make me feel like I’m accomplishing things.

It’s not just botanical work that is given this treatment. This week I have a dead snipe on my desk. 

A friend called me to say that she had found the poor dead creature and had kindly popped it into her freezer for me! Some of the snipes here in Ireland are winter visitors from Faroe Islands and Iceland. Never having seen a snipe in real life, I was both intrigued and excited. 

Curiosity overcame any squeamishness.

Plans, Paintings and Promises 2015

I never make New Year's resolutions, but writing a plan at the beginning of last year seemed to set the pace for the year ahead. Although I didn’t quite manage to do everything on my list, just having a positive approach can make all the difference.

 So here goes-

1. Positive steps towards promoting my art

Please pop along and have a look!  https://www.facebook.com/shevaundohertyart

I have been dithering about promoting my artwork for far too long. This blog was my first step forward and it has definitely helped me to gain confidence as an artist. So this year I am taking the next step. I have just set up a Facebook Page for my art. Now I will work on getting a website up and running.

2. Exhibitions to Aim for

What is an art plan without exhibitions?

The Painted Lady

“Just living is not enough," said the butterfly, "one must have sunshine, freedom, and a little flower.”

Hans Christian Andersen

Just before Christmas, a parcel arrived at my home. It was a gift from a friend and contained the most wonderful selection of natural treasures, the jewel of which had to be a tiny pinned

Painted Lady butterfly, Vanessa cardui.

I have a very special place in my heart for these tiny creatures because they take part in one of Nature’s most impressive journeys every year. They fly over 2000 km from the UK and Ireland to North Africa. It puzzled scientists for years as to how they did it, until they recently discovered that these butterflies ascend to a height of 500 metres and windsurf all the way down to North Africa, reaching speeds of over 45km an hour!! It’s not just a one way migration either, because many of the butterflies make the return journey too. 

You can read about the incredible journey here

I have painted the butterfly before, a small specimen that I found in Egypt, slightly battered and with it’s wings folded. The underwings are quite drab in comparison.  Painting from a photograph is never as exciting. I marvelled at the iridescence on the wings and the long soft hairs that cover the butterfly’s thorax and abdomen. It’s very hairy in fact! I couldn’t wait to paint it!

Drawing the butterfly and tracing out the design

I decided to paint it on a small piece of natural calf vellum. This differs from the kelmscott vellum because it is unbleached and shows all the natural pigmentation and blemishes. It’s still lovely to paint on. Graphite can mark vellum, so I drew out the butterfly on paper first, taking care to get the markings and measurements right. Once that was done, I traced it and transferred the drawing to the vellum.

Tip- butterflies are symmetrical so it’s a good idea to check that the symmetry is balanced using the tracing paper. Simply flip it over the tracing and place it over the drawing. It doesn’t have to be perfect, but will indicate whether everything is in the right place. It’s better to get it right at this stage.

As is my habit, I pulled out a colour chart to give me guidance whilst I paint. I don’t use all of these colours, just a few, and these are all pure, not mixes. With vellum it's better to use the transparent colours.

I also kept the tracing to the side as guidance, because the drawing was so faint on the vellum.

Sparkly paints? Oh yes please!

I  decided to use the Daniel Smith iridescent paints. The colour chart showed me that Saguaro Green would be perfect. Just a tiny bit would be enough, and used only at the end so as not to mess up the other paints. 

I began to redraw the butterfly markings using a very fine sable brush and some burnt umber. I decided not to do a thin wash over the whole wing first because I didn’t want to lose those markings. They are vital to the identification on the butterfly.

Once the markings are defined, it’s a matter of slowly building up the depth of colour and adding the orange colour of the wings using a dry brush. With vellum the paint sits on the surface, giving it a wonderful luminosity, but if you try putting on a wet wash over the paint, it will lift the lower layers off.  I constantly looked for the abstract patterns within the wings to compare both sides. 

I also added an antennae to the poor little butterfly… in real life it was missing one and would have looked odd without a bit of artistic licence.

I regularly switch between painting from sight, to using a magnifier. I find that I need both to get it right. I just use a cheap magnifier (from Argos) with a long arm which can be easily pulled over the painting or pushed away.

Glitter!

Finally, like the icing on the cake, I added the iridescent paint. I felt like a kid with some glitter glue… what decadent fun! I had to force myself to put the paintbrush down before I got carried away.

So there you go, one sweet little butterfly! 

It’s so nice to be back in the studio painting after all the festivities and I have yet more lovely treasures waiting to be painted! 

I wish you all a very Happy New Year!

 “The beauty of the natural world lies in the details.”

Natalie Angier

All you need is Love

“Let the beauty of what you love be what you do.”
Rumi

Christmas is here once again, the season of joy and goodwill!

Sometimes however Life doesn’t go according to plan, and joy or goodwill seem to vanish into thin air. It’s very, very tempting to just crawl back under the duvet and stay there until the mince pies are all eaten, and the last of the tinsel has been put away.

Fortunately art is the perfect antidote to the stresses of Life. How nice it is to slip into the studio, light a few scented candles (it is Christmas, after all) and enjoy the quiet solitude of painting.

"You do not need to leave your room. Remain sitting at your table and listen. Do not even listen, simply wait, be quiet, still and solitary. The world will freely offer itself to you to be unmasked, it has no choice, it will roll in ecstasy at your feet."

Franz Kafka

Whilst I paint, I contemplate all the things that I have to be grateful for… good health, a wonderful family and a really great circle of friends.

Social media has made the world a very small place and gives us the opportunity to connect in ways that we never have before. Every day is full of joyful surprises… it could be the simple pleasure of seeing someone’s beautiful artwork,  learning something completely new, or the buzz of getting words of encouragement about your own work. It’s just comforting to know that there are like-minded people out there.

I finished my page of prickles for the Natural Sketchbook Exchange.

One of the things that I have really enjoyed being part of this year has been the Natural Sketchbook Exchange. Not only has it been a great way of keeping motivated and inspired, but I’ve also made some truly wonderful friends. Throughout the year, we’ve all had our trials and troubles, but we’ve also managed to support and encourage each other.

"Qui audet adipiscitur"
~She who dares, wins~

It was through Facebook that this conker commission came about. I admit that I was a little nervous about this because the recipient happens to be an RHS gold medallist (no pressure then), but I hope she’ll like this. I’m giving it the title “Qui audet adipiscitur”, or “She who dares, wins”.  

Finally, I gave in and succumbed to the Christmassy theme. This sprig of mistletoe was calling me, and perhaps a bit of joy and goodwill is what I need. And whilst I might have missed the boat for this year’s celebrations, I thought this would make a nice Christmas card for 2015.

See, I’m not late, I’m super organised!!

Happy Christmas Everyone!

“In three words I can sum up everything I’ve learned about life. 

It goes on.”

Robert Frost

How to deal with Prickles

“The greater the obstacle, the more glory in overcoming it.”  

Molière

Finding time to paint and blog at this time of year isn’t easy! So when I came across a box of peculiar prickly things in Dublin's Fruit and Vegetable Market, I  knew that these odd looking things would be the perfect subject. They wouldn’t wilt or fade overnight, and they were just so bizarre that they had to be painted.Thanks to some clever botanical detective work by some friends (thank you guys), I found out that they were types of wild cucumber. 

And so the fun begins.

Depicting the prickles was my biggest problem with these little cucurbits. There are a number of ways to do this. I could paint carefully around each one, but that would be pushing my patience and skills to the very limit! I could also paint the skin without the prickles and then try to lift the paint back off.  I could paint the skin and then add the prickles using opaque gouache. Or I could take the easy option and mask off the prickles first.