Helen Parry Watercolour Artist

plein air

Yellow Tulip – watercolour sketch #77

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Yellow Tulip – layers of smooth watercolour wash

The Yellow Tulip is a tulip growing in our garden. It is a beautiful bright yellow flower, which emerges every year from under a small serviceberry tree (Amelanchier). The tulip is a bright warm yellow tone, that brightens up the undergrowth below the tree.

It was a bright dry day, so I decided to set up the painting equipment outside, in the garden. First I used an old wooden folding chair, that’s on its last legs. Then I overturned a large plant pot (empty of course!) and placed a large roof tile on top for a flat surface area. I’ve used this a few times and its quite effective (at the right height to the small chair). Next I lay my palette mixes on the tile, plus brushes and several jam jars of water. Several means I don’t have to keep fetching water.

Helen Parry Watercolour Artist -Yellow Tulip
Yellow Tulip watercolour by Helen Parry

 

Painting smooth watercolour washes

First I created a simple pencil sketch of the petal shapes of the Yellow Tulip. The petals had a smooth yellow colouring with a deeper yellow tone spreading out from the base of each petal.

To achieve a smooth look to the Tulip I started with a pale yellow watercolour mix. Painting all the petals. I left this layer to dry, before adding another layer. I repeated this process several times. Each time patiently waiting for a layer to dry. The washes were very wet. I usually work on another painting, while I wait for layers to dry.

Next I added more pigment to the yellow mix, building a stronger colour. Again I painted more smooth wet washes to the petals. Then I made the mixture a slightly darker tone of yellow for the base of the petals. Using the darker tone, I applied the brush in upward strokes, from the base of the petal to the top.

I tried not to over do the brushstrokes, as I wanted a smooth transition from the dark tone to the lighter tips of the petals.

I used the same smooth process, building layers of green watercolour mix for the stem of the Yellow Tulip. Graduating the layers from light to dark.

giclee print of yellow tulip flower
Yellow Tulip giclee print

Using a heavyweight watercolour paper

I knew I’d be painting lots of watercolour layers for the Yellow Tulip so I chose a heavyweight paper to use. I chose a St Cuthberts Mill Bockingford 425gsm (200lb). It can handle a lot of water washes and I didn’t need to stretch the paper beforehand. Over time I’ve learnt which papers I need to stretch beforehand.

If you use a lighter weight paper i.e 190 – 300gsm (90-140lb) you need to stretch this before painting any heavy watercolour washes and even then the paper can still cockle. Cockling causes the paper to bend and buckle. Even with heavyweight papers you sometimes have a slight buckle when you apply a wet on wet wash, but this should disappear once the wash dries.

 

 

Spring into Autumn as Summer falls

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The season is changing as we spring into Autumn and Summer falls into a distant memory and our days feel shorter.

Can we really be saying goodbye to Summer already? It seems only a few weeks ago, that I was eagerly anticipating the white blossoms sprouting from the hedgerows. Painting the blackbirds flitting about, their beaks crammed full of worms. It appears nature has moved quicker than me.

Helen-Parry-Watercolour-Artist-Female-Blackbird-1-of-1.jpg
Female Blackbird watercolour by Helen Parry

“Over the Summer months I have sauntered over fields, searching for those elusive stunning viewpoints, painting them, from the first rays of sunlight, through morning mist, under storm breaking clouds, to the evening long shadows, spreading as the fiery sun set”

 

Summer Plein Air Watercolours

It has been an interesting Summer Sketch outdoor exploration and I have drawn and painted in various sketch books and scribbled plenty of notes. During the summer months I’ve been out and about in the countryside quickly painting as much as possible . Yet I still feel I’m on the outer edge of observing and painting nature.

Summer
Wheatfield watercolour wash plein air

As an artist I am always attempting to balance my time between painting large, detailed, meticulous watercolours and plein air watercolour washes, that instantly capture an overall loose impression. I am surrounded by a marvellous array of interesting subjects and it can be difficult trying to paint them all. I am well aware there are only so many summers within a lifetime and sadly I watch as another one disappears, before I can fully paint my understanding of nature in Summer.

Fine Art Prints

Summer
Storm watercolour wash plein air

I love standing and observing and being totally immersed with my paint and brush, painting what has caught my eye. I am trying to make sense of it all and interpret and share what I see. It is interesting to see how the light can glare through the clouds and across the landscape. The sunlight can create stark shapes, vibrant colours or deep shadows.

Summer
Red Sunset watercolour wash plein air

I hope you enjoy these few plein air watercolours I painted this Summer. I have painted quickly, firstly to capture my immediate impression and secondly to make the most of the daylight and a long walk. Therefore if you see me wandering about, I’ll probably be balancing an open sketchbook as I walk (waiting for a watercolour wash to dry, so I can begin another one).

Fine Art Prints

Autumn – capturing the vibrant warm tones before they disappear

I am looking forward to painting the Autumn colours, as weather experts predict a good Autumn display this year. So I am really hoping to use lots of yellow, orange and red watercolour pigments. My rucksack is packed and I have my paint brushes ready, because you never know how long the Autumn colours will last.

Lilac – Watercolour Sketch #25

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Lilac Syringa Vulgaris 

Lilac is the subject for todays watercolour sketch. I wanted to capture the Lilac before it finishes flowering as I missed it last year. At the time I hadn’t realised the Lilac blossom has a short bloom.

Lilac seems to be everywhere through May and start of June, but I have to hunt about to find some near me. Sadly not all subjects present themselves on my doorstep, so I have to make time to go exploring outdoors, over fields, stiles and nettle encroached paths to find just what I’m looking for.

watercolour painting of lilac flowers in studio
Lilac watercolour sketch by Helen Parry in studio

 

Lilac painting on overgrown footpaths and a high bank

I spotted some Lilac on a lane near me, it was high above me, overhanging the lane, though I could only just glimpse it, amongst the other hedging plants. So I had to walk quite a way around to gain access to a footpath across a field. Then through an overgrown path with high banks either side, I could just spy the Lilac above, growing through wire fencing. So I climbed onto the bank and managed to observe the Lilac at eye level.

Standing at an awkward angle I managed to draw a few sketches of the leaves and flowers. I used watercolour pencils to create colour references on the flowers. I would lick my finger and dab it in the coloured pencil markings. This gave me a bit of movement with the colour. Watercolour pencils can be useful when it’s a difficult location for plein air painting. It was interesting how the leaves grow at tangents upon the stems and appear to be reaching away from the flower heads. Also seeing the plant up close I could discern the deep pink buds, that become small flowers of white, pink and mauve tones and their pungent fragrance filled the air.

Lilac watercolour process

So back at the studio I decided to capture the essence of the Lilac, showing its disjointed leaves and a flavour of how the small flowers cluster together. There were a lot of flower heads to paint. I painted the petals a pale pink loose wash and kept adding layers as the previous layer dried. More layers were added to the buds to create a deeper tone of pink.  I added a blue wash to some of the flower heads to achieve a mauve tone.

A yellow wash was applied to the stems and leaf veins. Then I painted the leaves a green wash. Once dried I painted a deeper tone of green on the leaves to add definition. Then I painted green stems amongst the flower heads. The new growth of branch was painted a red brown watercolour mix. Finally a dot of deeper yellow watercolour mix was added to the centre of the flower heads.

Searching for Lilac was worth the effort, it allowed me to study the plant in detail. Observing how the leaves naturally weave away from the flowers. The sweet scent of the flowers, tingling my nostrils.  I’ll remember for some time.

 

Yellow Poppy – Watercolour Sketch #21

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Yellow Poppy Meconopsis Cambrica -splashes of yellow in the garden

The popular Yellow Poppy is todays watercolour sketch. The Yellow Poppy grows all over the garden.  Gorgeous sunshine this morning, ideal for plein air painting. I had to find a corner of the garden, where the breeze was still. Also I needed an open poppy flowerhead, to see the stamen and anthers inside. They are a lovely splash of colour all around the garden and in the hedges.

watercolour painting of yellow poppy in studio
Yellow Poppy watercolour sketch by Helen Parry in studio

It is much more relaxing setting up the painting gear in the sun. Rather than battling the wind or protecting everything from the rain. I used my old collapsable artist chair, sometimes it collapses when it’s not meant too. A makeshift table of an upturned pot and old roof tiles. A few jam jars of water and I was ready to paint.

 

Yellow Poppy cockling watercolour paper

Previously I’ve used sketchbooks with a 120gsm – 300gsm and have found they start to warp and unevenly spread the watercolour washes. This is known as cockling. Usually watercolour papers have to be stretched before use, so they can absorb more water when painting. The stretching stops the watercolour papers from cockling. Cockling is when the paper distorts and you can end up with bulges in your paper. This stops the paper from lying flat.

It is fine to stretch a sheet of watercolour paper for a painting, but it isn’t an ideal way to use a sketchbook. Therefore I prefer a sketchbook with heavy weight paper. I’ve used a St Cuthbert Mill Bocking 425gsm (220lb) watercolour paper sketchbook. It copes very well with wet washes. Also it’s quite a stiff sketchbook for holding when you’re painting standing.

Yellow Poppy painting process

This Yellow Poppy has warm tones, so I painted the shaded areas with a brown watercolour mix, rather than a black watercolour mix. Also the Poppy has hints of orange on the tips of the petals. I have applied several layers of yellow watercolour to the Yellow Poppy petals, each time adding more yellow pigment to the palette.

The stigma of the Yellow Poppy is almost white with a hint of green, so I painted carefully around it, so I could use the paper as my white. When I had finished painting the petals, I started to paint the stamen and anthers. Then as I added by brown watercolour mix for the shading I also used this to paint around the stamens to add definition to their shape.

I like the warm tones of the Yellow Poppy.

 

Apple Tree Buds – Watercolour Sketch #18

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Apple Tree Buds – painting on a windy day

Afternoon, Apple Tree Buds is todays watercolour sketch. Apple Tree Buds have an intense pink colour, which I really wanted to paint. Thankfully I found a branch low enough, out of the wind (yes, it’s really blowing today) with a great balance of buds to leaves ratio.

I only needed to mix three palettes for this watercolour.  Now I said the branch was low, but I still had to stand to paint. I started with a quick, light sketch, focusing on the shapes, not the detail.

watercolour painting of apple tree buds in studio
Apple Tree Buds watercolour sketch by Helen Parry in studio

 

Apple Tree Buds and windy weather (joys of plein air painting)

It was a very windy day, but I had to paint the buds. I could miss my opportunity to paint them. Before long they’ll be blossom and I can’t predict if there’ll be more dry days. Again I used my St Cuthberts Mill, Bockingford watercolour paper 425gsm (200lb). It’s a very stiff paper, which is ideal for watercolour sketches. So I was able to hold the pad firmly in my hand, while I painted the Apple Tree Buds. The palettes were on the ground, too windy for a makeshift table.

I painted a weak pink wash on the buds first. Then I painted a yellow watercolour wash, on the lighter areas of the leaves. Before the yellow paint had dried I applied a layer of weak green watercolour mix over the leaves. Then I added more pink pigment to the watercolour wash and brushed another layer onto the pink Apple Tree Buds.

I had to let the paint dry on the watercolour sketch, with the breeze blowing, it didn’t take long. Then I painted a darker green watercolour mix to the leaves, for shading and depth. I’ve tried to give an impression of the light and shaded areas of the leaves, rather than focus on too much detail of the Apple Tree Buds.

Then I added more pink pigment to the watercolour mix and with the smaller brush I painted a darker tone to the base of the Apple Tree Buds. I let the brush glide and flow to create a sense of movement.