watercolour sketch

Pure Watercolour Technique – Mixing Watercolours

February 23, 2020 by Helen Parry Leave a Comment

My pure watercolour technique involves producing each of my watercolour paintings using just three watercolour pigments; red, yellow and blue. From these three primary colours, I mix all the different tones and shades that you can see in my finished paintings.

Why do I mix my colours?

With such a variety of different watercolours available to buy pre-mixed, I am often asked why I produce all of my own different colours. Instinctively, I know how to create the specific colours I want contained within my paintings and to be honest, this process has always worked well for me, even as a young child! When mixing watercolour paints, I have more control over my paintings. By mixing my own colours, rather than buying off the shelf, I can produce the exact shades I want to bring together.

The paints

My ‘go to’ brand for watercolour paints are Winsor and Newton Artist watercolour pigments and I use them in tube form. By using the tubes, this allows me to create a thicker body of paint. To start with I use three trusty ceramic egg cups for the three paints! This makes the paint more easily accessible for me to mix from. I then use ceramic palettes for mixing paints and developing the colours. These are just the right size to hold in my hand for when I stand and paint at the easel.

The Winsor and Newton watercolour pigments I use also have an excellent lightfastness and a strong pigment content, so the colours will not easily fade. This is important to me as my paintings can take 100-150 hours to create, I want to know that each will last a long time.

Mixing watercolours

To mix my colours, I rely on my instincts. For example, I generally know how much blue or yellow paint I need to add, to create a particular shade of green. This also comes with years of practice too!

Here in this sheet, you can see I have created 54 different colours from just mixing combinations of the red, yellow and blue. There are many more colours and variations of colours that can be produced; however, these are just a selection. I worked quickly through this colour chart and didn’t think through the colours produced, but I just worked instinctively.

Tone and hue

The tone of a colour means the lightness or darkness of a colour.

The hue of a colour means the actual colour i.e lemon yellow or gold yellow.

By using only three colours of paint, I have a greater influence over the tone of a painting. There are times when I want to create a contrasting tone, such as when I’m painting autumn colours, where I want to emphasise the vibrant rusty reds and burnt oranges. To achieve a tonal contrast means applying a strong, darker colour next to a light, vibrant colour. You can see this effect in my Wrekin in Autumn watercolour painting.

The importance of water

When I create colours, the amount of water I apply to the paint affects the tone I achieve. The basic rule is, the less water the stronger the colour. However, this is sometimes a difficult balancing act, as I need water to create my mixed colours, whereas it would be a more simplistic process if I were to paint with pre-mixed watercolour pigments.

Further to this, not only does the amount of water affect the tone achieved, but so does the amount of watercolour layers I apply to the paper. The more layers I add, the stronger the colour I achieve. You can see the chart where I show the colour before and after more water is added to affect the tone.

Using mixed watercolour paints

Pigments that are mixed can be harder to keep bound together in the palette, so they need to be regularly re-mixed before applying the paint to the paper. A mixed pigment for example is when you use a yellow and blue paint to create a green mix, rather than using a ready-made green paint. Additionally, when I mix the paint, I will re-mix variations of mixed paints, to create another hue. All the various green hues in my painting Towards the Light were created from my three colours.

Using a mixed black paint

The greatest challenge when mixing all of my colours from just red, yellow and blue, is creating a black paint. Therefore, whenever I need black paint I need to make as much black paint as I will need for the painting. Otherwise my black mix might not be the same hue, each time I create it.

A mixed black paint can be very hard to bind together. It can start to separate as you apply it to the paper. Therefore, I have to make sure each layer of black paint is perfectly dry before adding another layer. You can see the separating that may occur in the photograph above.

In my painting Sunset through the Trees I had to apply many layers (approximately 40!) of my own mixed black paint. Each time I brushed a layer on, the colours tried to separate. I had to make the mix flow, so I could apply it smoothly to the paper and yet use as little water as possible, so it was less likely to separate. I also had to paint around the leaves, as I don’t use masking fluid. It was not an easy painting to complete but I think, worth it!

Giclée Prints

December 2, 2019 by Helen Parry Leave a Comment

Not only do I create and sell original artwork, but I also produce giclée prints of my originals.

yellowhammer bird Giclée print in a white frame — Yellowhammer Giclée print – Helen Parry

But what is a giclée print?

“Giclée is a digital printing process in which an inkjet printer is used to produce a high-quality art print”

Giclée stems from the French word, ‘to squirt’. It is pronounced as ‘zeeh-clay’ and the terms was first coined by the print maker, Jack Duganne in the early 1900’s. Typically, the terms encapsulated the process of artwork reproductions and photography printing. However, to put it simply, the process involves an inkjet printer ‘squirting’ microscopic droplets of pigment ink onto an archival quality paper or canvas. It’s well thought in the art industry that giclée printing is the highest form of art reproduction available.

St Cuthberts Giclée Paper

For all of my giclée prints I use the finest archival quality papers to ensure my fine art prints will last for many, many years (with the correct storage). My paper of choice is the St Cuthberts Mill Somerset Enhanced Velvet 330gsm paper. This surface provides a wonderful matt finish with some beautiful but delicate texture to it which truly adds to the finished print. The paper is made from 100% cotton with an elegant feel. With the paper being completely acid free and designed to be archival, it is guaranteed to last hundreds of years without discolouring or fading. I would recommend framing my giclée prints behind glass and ensuring they are displayed out of direct sunlight to ensure that you can have the maximum enjoyment from my work.

Giclée Prints for Sale

Giclée prints are available of most of my paintings and are offered in different sizes. Some prints do include mounts, so they are ready for framing. Additionally, some prints can be provided ready framed for you, such as this wonderful Stag in the winter.

Stag standing in snow Giclée print — Stag in Winter – Helen Parry

‘The Stag in Winter’ is part of a limited-edition giclée print run of just 195 prints. Each print is provided with a Certificate of Authenticity and prints are numbered in pencil. This magnificent but majestic creature is demonstrating his dominance across the winter landscape! The original painting was created using just three watercolours; the primary colours. All of the exquisite whites of the snow are carefully painted around and filled with gentle shading. Furthermore, the base colour of the watercolour paper is used to demonstrate this winter scene.

When ordering my giclée prints, please check the options available in relation to sizes and framing options through my online shop. However, if you can’t find exactly what you are looking for, please do not hesitate to contact me and I will be more than happy to help.

If you’re still looking for the ideal Christmas gift for a loved one, all of my giclée prints can be ordered and received in time for Christmas too!

Poinsettia Watercolour Painting – The Christmas Flower

November 4, 2019 by Helen Parry Leave a Comment

Poinsettia (Euphorbia pulcherrima) are also known as Christmas Flower. These wonderful, vibrant red plants truly represent the wonderful colours of the season and there is no doubt that you will see more and more of these lining our shops shelves over the next few weeks. With Christmas just around the corner, this fabulous poinsettia plant has inspired me to produce a delightful Christmas watercolour painting.

The Poinsettia Plant

These wonderful plants are indigenous to Mexico and the plant’s original association with Christmas is said to be as far back at the 16^thCentury. The story is told of a young girl called Pepita whom was too poor to provide a gift for the celebration of the birth of Jesus. An angel inspired this young girl to collect weeds from the roadside and present them to the church altar. From this, the stunning crimson red blossoms appeared from the weeds and there came the poinsettia plants. It is also suggested that the star shapes created by the leaves symbolise the Star of Bethlehem. Furthermore, the stunning red colour of the leaves are said to symbolise the blood sacrifice through the crucification of Jesus.

Poinsettia Watercolour Painting

Inspired by this stunning Christmas plant, I have recently painted a poinsettia. Here I will take you through the process of producing the incredible red hues and intricate detail contained within this poinsettia watercolour painting.

I always commence my watercolour paintings with an initial sketch including some layout ideas. This initial sketch is always done in pencil and I ensure to make a note of all white and highlighted areas as these need to remain unpainted. This is due to my painting technique; pure watercolour.

From here I start to build up some colour in my poinsettia watercolour painting. All of my watercolour paintings are created using just three colours; red, yellow and blue. I mix these primary colours to create all the different subtle shades and hues contained within each painting. The watercolour paper that I have chosen to work with here is the St. Cuthberts Mill, Saunders Waterford 300gsm/140lb and my watercolours are Winsor & Newton Professional Artist paints.

Next, I begin to build up the undertones of my painting. This includes building layers of watercolour washes. Building up these tones from light to dark is important to ensure that the consistency and depth of the watercolour pigment is perfect.

One of my favourite moments of painting is when you can slowly see the incredible layers build and develop to produce gorgeous new and beautiful hues. As you can see, I have used very fine brushes in this poinsettia watercolour painting, this allows me to ensure I can create the detail in the crimson leaves, including the delicate veins that run through them. My brushes of choice here are the Winsor & Newton Kolinsky sable brushes.

Finally, I have added in the green pigments to build in the detail and colour of the green leaves at the base of the plant. This green pigment has been built up with just blue and yellow watercolours and the highlighted details you can see are created by leaving parts of the heavy weight watercolour paper unpainted.

Here is my final poinsettia watercolour painting, and I hope you like it. This original painting is now available to purchase in my online shop in either an oak or an off-white frame. Alternatively, you can also purchase as a giclée print.

Red Tulip – watercolour sketch #82

April 2, 2019 by Helen Parry

Red Tulip watercolour with layers of pink hues

The Red Tulip was painted at the same time as painting other Tulips in the garden. Starting with an upturned plant pot and a roof tile as a makeshift table for palettes and water-filled jam jars. It was a gorgeous dry sunny day, as I sat under the shade of the Serviceberry Tree painting the Tulips. Then quickly working from one painting to the next as I waited for layers of watercolour to dry. Also taking time to enjoy the lovely sunny views of the Shropshire hills, from the garden too!

The Red Tulip caught my eye, not just for it’s dramatic fiery red tones, but for the hues of a vibrant pink, blending beautifully with the strong warm red tones. The tulip will make a bold colourful watercolour.

Painting layers of red watercolour

First I created three palette watercolour mixes, a red, a green and a blue/ grey mix. I used a very pale red watercolour mix for the vibrant pink tones on the petals. The Red Tulip had pink hues from the centre of each petal and again on the edges of the petals. These washes were very pale and built up in layers to achieve a deeper pink tone to the watercolour painting.

Once the pink layers had dried I added more pigment to the red mix. I used the deeper red mix to paint the curved areas of the petals. Lots of layers were added to create a stronger colour to the Red Tulip. I kept adding more pigment to the red mix and applying to the red areas of the petals, leaving the pink tones untouched.

Painting subtle shading

When painting the shading I tend to add an initial wash and then decide how dark the shading needs to be. If you paint the shading too dark, the petals can look confusing lying against each other. So I used the light blue/ grey mix for the shading. It gave a softer tone to the Red Tulip. The base of the petals had a slight blue tone to them. As a botanical watercolour artist I am always observing the balance between warm and cool tones.

Red Tulip watercolour painting available to Buy ready framed

Finally I painted the green stem using the green mix. Again I applied layers of watercolour to create a smooth look to the stem.

The Red Tulip watercolour depicts the pink hues blending into the fiery red tones, layers and layers of watercolour washes blending together. I used St Cuthberts Mill Bockingford 425gsm paper, to cope with the heavier washes.

The completed Red Tulip painting is now available to buy ready framed, with a choice of off-white or oak frame. You can also buy a ready framed Giclée print. Click on the link to see the lovely choices available.

Hawthorn Berries – watercolour sketch #81

October 27, 2018 by Helen Parry

Hawthorn Berries watercolour painting, capturing the bright red berries

Hawthorn berries are the subject of my watercolour sketch today. Their vibrant red berries really draw the eye amongst the rusty brown branches of the hedges. Luckily I’m a Shropshire artist, living rurally, so I only had to go out into the garden, to draw these luscious berries before the birds consumed them. Also the gorgeous berries start to darken after awhile and I wanted to paint them before their vibrance was lost.

watercolour hawthorn berries by Helen Parry — Hawthorn berries watercolour work in progress by Helen Parry

Painting hawthorn berries watercolour outdoors just as the rain starts

So originally I planned to paint the hawthorn berries in situ. Therefore I managed to set up a makeshift table, by turning an empty old plant pot holder upside down. I placed the materials I needed on top, such as jam jars of water, paint brushes, sketch pad and paints. As usual I used my small old rickety wooden chair to sit on.

Firstly I looked for a branch with a good ratio of berries to leaves. Then by observing the berries I sketched them onto the paper with a pencil. The initial drawing looked too busy, leaves and berries had become entwined. Therefore using the erasure I removed some of the leaves and berries.

Just as I finished the pencil layout the wind picked up and then the rain started. The rain was driving at me and no umbrella would have stood the winds. So I quickly abandoned my painting set up and retreated to the studio.

watercolour hawthorn berries work in progress by Helen Parry — Hawthorn berries watercolour work in progress stage 2 by Helen Parry

Hawthorn berries watercolour painting in the studio

I like to paint my watercolour sketches outdoors, but sometimes the weather is too harsh and I end up completing the original watercolour paintings in the studio. I clipped a small section of the hawthorn branch to help me in painting the colourful watercolour.

First I created four palette mixes from my three primary watercolour colours, a red, green, orange/brown and dark brown mix. I used one small watercolour brush to paint the watercolour sketch.

Observations of the hawthorn berries and leaves

Being a watercolour artist means I use a process of adding layers of watercolour washes. As each layer dries I add another layer of paint. Each time I am building the depth of colour of watercolour paint. On observation I noticed the leaves had darker edges on their serated tips and the leaves were starting to turn an orange/ brown colour. I tried to capture this is the hawthorn berries watercolour.

I noticed how the berries are usually in pairs and they either spray upwards or curl downwards. Also the thin stems on the berries turn from brown to red as they reach the red berry. Hopefully my watercolour paintings reflect all that I observe.

Watercolour painting of Hawthorn Berries completed

I painted several layers of watercolour washes to the hawthorn berries painting. Each time waiting for the layers to dry before adding more. It took patience and time to complete the Hawthorn berries watercolour sketch. I call it a watercolour sketch, because it is an individual study of one subject, on a small scale. There is still lots of detail within my watercolour sketches and the subjects I paint vary from bird watercolours to botanical paintings.

The final hawthorn berries watercolour painting. All original watercolour sketches are available to buy ready-framed from my shop.

watercolour of hawthorn berries by Helen Parry — Hawthorn Berries watercolour by Helen Parry

Great Tit – watercolour sketch #80

August 16, 2018 by Helen Parry

Great Tit watercolour – reassuring presence in the garden

The Great Tit is the one bird I can count on seeing in the garden. They are never far from a bird feeder and when all other birds have dispersed, the Great Tit will still be flitting around the lawn or in the hedges. They are not easily spooked by my presence and generally stay near as I refill the bird feeders.

Helen Parry Watercolour Artist -Great Tit — Great Tit watercolour by Helen Parry

Painting fine detail with watercolour

I mixed three palettes for the Great Tit watercolour, a yellow mix, a blue mix and a black mix. I started painting with the blue mix first. Applying pale blue watercolour washes on the beak, the back, the tail and the wing. I also applied this mix to the legs and feet of the Great Tit.

Next I painted the first layers of yellow watercolour to the chest of the Great Tit. These first washes were applied with the larger of the two brushes you can see in the image above.

For the fine detail I used the smaller brush, applying short brushstrokes of the yellow mix to the chest. The short brushstrokes help to give texture and feather movement to the Great Tit. I also used the yellow mix on the back of the bird.

Then I used the blue mix on the back of the bird to give the effect of a green tinge to the feathers on the back of the bird. I created thin lines of blue along the wings and tail of the Great Tit. Next I used a paler mix of the black, creating a grey colour, to paint short brushstrokes on the the chest and back of the bird. Also I painted the rim the bird was clinging to.

Using a mixed black watercolour

I had created my own black mix from transparent watercolour pigments. I had to keep mixing and working the mix so it would bind together. Then I used the small brush to create tiny black brushstrokes across the head of the Great Tit. I wanted the underlying paper to show through the brushstrokes, this adds depth to the black paint.

I used the black mix for the eye, leaving an area of white paper. Then the wings, legs and feet were outlined with the small watercolour brush. I added feather texture and movement to the white cheek of the Great Tit, by painting short brushstrokes with the black mix.

No white paint, the paper is the white

All the white areas of the bird are the paper, areas I have left unpainted. I don’t use white paint, I think I achieve a softer look to the painting by using the paper as the white.