Dear Painters and Friends,
I am off to Bonn this weekend for the opening of the exhibition I am taking part in. After that it’s closer to home. There will be an opening for the show in the '100 Year Gallery’ in London, where two of my videos will be shown as part of the evenings event. All details are below and I hope you can join me to one or even both shows. I wish you all the best with your painting,
FRAUENMUSEUM BONN, Germany
FREUNDINNEN – vom romantischen Salon zu Netzwerken heute
(Women’s friendships – from Romanticist Salons to modern networking)
Private View: Sunday, 18th February 2018 at 12:00
Address: Frauenmuseum, Im Krausfeld 10, 53111 Bonn, Germany
Exhibition open: 18th February – 16th September 2018
Tue – Sat 14:00 – 18:00, Sun 11:00 – 18:00
Portrait Der Künstlerinnen Schroeder und Slongo, 2017, detail
by Bettina Schroeder and Biggi Slongo, 114 x 76 cm, treated and knitted watercolour paper
HUNDRED YEARS GALLERY
Exhibition: THE PLINTH PROJECT presented by the Groyne Gallery
Date: Saturday 24th February 2018
Times: 16:30, 18:00 & 19:30
Address: HUNDRED YEARS GALLERY
13 Pearson Street, London, E2 8JD
entry: £5 tel: +44 (0)20 3602 7973
More details: http://hundredyearsgallery.co.uk/the-groyne-gallery/
What a joy to be able to return to Devon for another painting week, and to see our hosts, Lara and Martin Lloyd, with their little daughters Sash and Rosa, again. There is always a warm welcome at the Coombe that makes settling in easy for me and my painting companions, especially when everyone has a glass of wine in their hand.
September, often a ‘second summer’ was cooler than expected, but we had a fair amount of sunshine for our painting excursions. However, our fist day was spent in and around the Coombe Farm Studios, our home from home for the week. The Provencal-style courtyard has two largish trees, whose still lush canopies threw intricate patterns of light over the stone walls of the old buildings, and the large turquoise urn and pots tucked into the corner opposite the entrance. The scene was a good subject to start with, especially for our beginners in the group, who were eager to learn how to create a three dimensional object on a flat piece of paper. The next step was selecting colours, and practicing the various ways of applying the chosen colour mixes by brush. By the end of the day everybody had made good progress, and we were looking forward to winding down with a cup of tea after the day’s ‘hard’ work.
An exciting sky with billowing clouds awaited us at Dittisham Harbour on Monday. The tide was just turning, and the boats on the Dart Estuary were swirling and bobbing about more than we had bargained for. Fortunately they soon positioned themselves all in one direction, making it easier for us to capture them on paper. This location – apart from being a lovely spot – was perfect for my demonstration of the ‘wet-in-wet’ technique, ideal to depict the expanse of water stretching away from us towards Dartmouth. The real challenge however, turned out to be the wooded hills on the opposite shore, rather than the water, so I took the opportunity to talk more about different greens, how best to apply them, and which ones to avoid! By lunchtime we were all ready to head back to Coombe Farm, where lovely Tanya, the new cook at Coombe, had prepared a most delicious lunch for us. After a restorative cup of coffee, we spent the afternoon in the Studio finishing our harbour paintings, and discussing plans for the days ahead.
We decided to alternate days on location with days in the studio. Therefore Wednesday was studio-based, with a complete change of subject. We arranged a dozen vases filled with a variety of flowers, and dotted them about on the three large tables in the Studio. Each of us chose a favourite arrangement, and set to work sketching. To give the rather traditional painting subject a bit of a twist, I demonstrated the use of masking tape, facilitating interesting divisions of space around the flowers. Unlike pure flower studies, a painting of flowers in a vase usually throws up the question of background. What colour, which accompanying objects, and so forth. I was impressed by the results achieved even by the beginners after playing with the various ideas.
After a whole day in the Studio, we were keen to visit the wonderful gardens and home at nearby Whitestone Farm, where the well-known sculptress Jilly Sutton lives with her family. Every year, she generously invite us to share the views from their garden, across the estuary - a spectacular vista. On this occasion the tide had just gone out, revealing ‘glorious mud,’ interspersed with little rivulets glistening in the sunshine. Across the estuary nestled the picturesque village of Stoke Gabriel and the foreground conveniently offered old wooden boats moored to a jetty. The boats on the distant shoreline rounded off the view to perfection. Despite the threat of heavy rainclouds, we mainly had sunshine and swiftly got started. We were able to build on the knowledge and practices from our day at Dittisham Harbour, and the hills were not quite as challenging this time round.
Friday, our last day had come round all too quickly. This was a last opportunity to polish our flower painting skills and to experiment with a looser style of painting. We went ‘wild,’ and had amazing fun with wonderfully colourful and lively paintings at the end. A great reason to celebrate, and to gather for an informal show in the evening. It was impressive to see the selection of everybody’s work on the studio walls. With a nibble and a drink served by little Sasha and Rosa in their finest attire, we finished off a fabulous week, where – apart from creating wonderful paintings – old friendships were renewed, and new friendships were formed.
With many thanks to all at Coombe Farm Studios, and to all the painters for their dedication,
The weather forecast for the Devon area was not looking too good, but we need not have worried, because it all worked out fine. The sun came out and I was able to do some drawing around Coombe Farm even before my group of painters arrived. It was lovely to see the old courtyard and the flower filled garden once more, and walk along the little stream at the bottom of the hill. There were chickens again by the grass-roofed hen house – they could come in handy as a foreground motif later on, I thought to myself. For the time being I contented myself with a sketch of the white bench conveniently positioned in the corner of the courtyard near the ivy-clad stone arch that leads to a small path down to the stream again. Nicely warmed up now, I was ready for my first painting demonstration the next day.
Everybody was as eager to get started as I was, and we all settled in the courtyard choosing the wonderfully assorted shapes and colours of the old stone buildings as our background, and some attractive over-sized clay pots as the focus for the first day’s paintings. The pots alone are a great subject fort he beginner to learn how to represent a three-dimensional image on a flat sheet of paper. It was a happy start, despite the disappearance of the sunshine after lunch, so we withdrew to the studio to finish things off. The studio of Coombe Farm is particularly well-appointed, spacious, light and full of character. It also functions as a gallery, with many fascinating art works on display.
The next day we had the full go-ahead from the Met office – sunshine all day! So we ventured out to Whitestone Farm, with wonderful gardens, and the most spectacular wide-angle view across the Dart Estuary. Whitestone Farm is the family home of renowned sculptress Gilli Sutton, who generously invited us to share her garden for the day. The open landscape and expanses of water were an ideal setting for demonstrating those exciting watercolour washes, to talk more about the wet-into-wet technique, and how to take advantage of seemingly random watercolour effects.
The practice from our day at Whitestone Farm paid off the following day when we visited the village green – ‘The Ham’ - at Dittisham, looking towards the harbour, with its long jetty visible across another ‘leg’ of the river Dart. From there you can get a glimpse across the water towards Agatha Christie’s house, and the Dimbleby’s riverside residence. Having mastered clean and fresh washes covering larger areas of paper as a first step and foundation for our paintings , it was time to learn how to best capture those green, wooded hills rising from the water’s edge. I have a very simple way to deal with different greens, and happily shared my little trick with everybody. We were further challenged by the distant boats merrily dancing at anchor, and it was back to thinking about perspective in landscape, and how to apply some of the ground rules.
After having spent two days outdoors, on Wednesday we were happy to stay in the comfort of the studio. We tackled a variety of issues, from light and shade on indoor objects, composition in painting, to the layering of colours. A steep learning curve for the two absolute beginners in the group, but I was astonished how well they were able to put their newly acquired knowledge into practice. There was also a very exciting development forming throughout the week. I had demonstrated mostly ways to paint in a more or less realistic, though loose style, while I always try to set a little time aside fort hose painters who are more interested in an abstract approach. As the week progressed, we had great fun experimenting with colours, ideas and ways of expressing personal feelings in painting. This more experimental approach to handling colour is of course also a great route towards understanding how to handle those delicate tones in flowers or skin tones,
By Friday we had some impressive flower paintings alongside explosive and expressive abstracts as well as atmospheric landscapes. I felt very much that everybody had found their ‘voice’, and were looking forward to our informal last night’s show. It was indeed a joyous sight, seeing a week’s work on the studio wall, and with a glass of wine in hand we were able to admire our achievements as well as discussing tricky techniques and creative problem solving. At eight o’clock it was time to gather for another of Lauren’s outstanding dinners, the culmination of a week’s delicious meals.
I’d like to say a big thank you to all at Coombe Farm, especially Lara Lloyd, who together with her husband Martin welcomed us warmly into their home. It was sad to have to say goodbye, but of course I am l lucky to be able to return for another week’s painting in September! And finally, huge thanks to everybody who joined me in August and made the week such a pleasure.
With best wishes for a colourful summer,
“I had a fabulous week and now feel confident with watercolours.”
“The course was wonderful – creative and fun."
On arriving at Brynaport, our guests were warmly greeted by Fiona and Sophie Fontes, daughter and granddaughter of our hosts, Mark and Gillian Pattinson. Soon everyone was comfortably installed and ready to enjoy the first of many superb meals provided by the excellent cook, Alison.
Our first day, and we were blessed with sunny intervals and atmospheric clouds hovering over the spectacular Torridon mountain silhouette. Fortified by a hearty Highland breakfast, we met at the well-appointed studio to gather our painting materials, and top up with essential items. Then the great outdoors beckoned!
The views near Bynaport – our home from home for the week – are inspirational; whitewashed cottages line up above the shores of Loch Kishorn, providing a perfect foreground motif for our first painting day. The view is also ideal to get the feel of the some of the special aspects of landscape painting. Keeping this in mind, my demonstration focussed on some of the basic guidelines of colour choices for distant mountains, skies, and foreground trees. By teatime, most of us were back in the studio, ready to indulge in a cuppa and a slice of cook delicious homemade cake.
The next day we ventured just a bit further down the village road and onto the shingled beach of the Loch. The tide was still out, and exposed colourful ochre lines of seaweed, leading the eye along the water’s edge towards some rust-red sheds nearby. Combined with the majestic mountains dropping down to the opposite side of the Loch, this makes a perfect painting subject. For beginners, there is a good chance to learn some basic perspective on buildings, and for advanced painters, I was able to demonstrate the more complex wet-into-wet technique. As is often the case, I was impressed how well the less experienced in our group captured the scene.
Now well primed, we were prepared to tackle the exciting wild and open mountain-scape a couple of miles away. We were particularly lucky on day three, as the sun blazed down upon us from a Mediterranean blue sky. We had been invited to paint from the grounds of Rebecca Pattinson’s house (Rebecca is another of Mark and Gillian daughters). This not only offered us amazing landscape views from the terrace and gardens, but also abundant creature comforts. It was certainly very enjoyable and by the end of the day, we had our paintings to prove it!
Then came the ‘Saga of the Stones,’ as we made our way down to the nearest bay, with conveniently placed rocky outcrops just above the tide-line, and tall, weather-bleached fishing-net drying poles punctuating the sky. This was the perfect opportunity to work on our rock painting skills. I hope those of you less familiar with this kind of subject profited from my demonstration.
These classic formations so captured our imagination, that some of us carried on with our rocks the following day. Others used the final day to complete unfinished paintings, receive last minute technical advice, and select the best of our work for the informal viewing in the evening. Many of the Pattinson family, with Fiona Sophie at the helm, and some friendly locals awaited us with sparkling wine and delicious canapés, while two teenage girls played airs and reels on the bagpipes. To round off a perfect week filled with creativity and camaraderie, we sat down to another of Alison’s gourmet meals, all washed won with wine and happy laughter.
Until next year all the best with your painting,
The change from London to Portugal on Tuesday afternoon could not have been more pleasant. Rain and grey skies at Gatwick, brilliant sunshine the moment I set foot outside Faro’s new Arrivals hall. And it stayed that way all week!
A short taxi-ride with Nuno, and I dropped my bags off at the Art School, unpacking my painting equipment first, to be ready for the week’s painting adventures. It was a joy to be back in Olhao, the attractive old harbour town, and to explore once more the narrow streets and traditional buildings with wrought iron balconies, where many of the houses are still tiled in the old-fashioned way.
On Wednesday everyone in our painting group arrived safely, and we got to know each other over a glass of wine and our first meal together. To spur us on we were all given a lovely sketchbook to take home with us.
The next day it was time to get our paints and brushes out. The sun was already high in the sky, so we choses a shady alley in the old town centre, where we had a good view of the church, complete with stork’s nest on top! Cafes with outside tables were also nearby, and after my first watercolour demonstration we took it in turns to have refreshing drinks. Soon it was lunchtime and we briefly withdrew to the cool of the Schoolhouse. We resumed painting later on, and most of us were able to finish the first painting of the week.
On Friday we were in for a treat. Nuno, not the taxi Nuno, but a young marine biologist, picked us up with his boat from the harbour down the road for a painting excursion to the picturesque island of Armona. The small whitewashed houses with their lush front gardens looked just the thing to paint. We settled down under some shady trees where we had a wonderful view across the lagoon, and a little house surrounded by Palms and Jacaranda trees, and a few upturned boats by the beach. After the morning’s work we had a delicious lunch of grilled fresh caught fish in one of the island’s restaurants.
My painting demonstration in the morning focussed on the contrast between foreground objects, such as the trees and house, and the seascape and headland in the distance. The little fishing boats were not too difficult to capture this time round, but the excursion to the little harbour town of Fuzeta, later on in the week, put us in closer contact with some larger fishing boats. These make a magnificent painting subject because of their varied colours, and partly because they have a small cabin resembling a little house on top. Combine that with all the rust coloured winches, ropes, and bright red buoys, and even people who normally don’t ‘do’ boats cannot help but get inspired!
But I am jumping ahead of myself. Before the Fuzeta trip was market day in Olhoa. The eye-catching market halls are right by the waterfront, and feature several towers and an open market with a riot of colourful sun umbrellas shading the fresh fruit, vegetables and other goods. Inside the halls is the amazing fresh fish market, presenting the shopper with the most astonishing sea creatures apart from the more familiar varieties like octopus, mackerel, sea bream etc. etc. Some of those no doubt made it to the restaurant tables where we dined and had a great fun choosing fish to eat with the help of the charming waiters and waitresses practicing their English.
The market is of course a great place to sketch and paint people. At first it seemed impossible to draw the constantly moving figures. However, after a short watercolour demonstration, I was able to point out typical representative movements and postures that make it easier to ‘catch’ people on paper or canvas. We ended the day with a range of great sketches and finished paintings depicting the hustle and bustle of the outdoor market by the harbour.
After all the hard work of the first couple of days, Sunday made a welcome break, where everybody was at leisure to do what they wanted; further explore the town, or paint in the cool of the studio, or take a dip on the roof-top swimming pool, and check out the new ice-cream parlour later. Shopping in the town is always fun too, since there is the largest number of shoe shops with summer sandals I have ever come across in any of my travels! I chose to take the ferry to another island a little further away, facing the Atlantic to see if it was suitable for a painting excursion with my students. I had a lovely tome there, but the lack of trees meant there was no shade for us to paint under, so I kept it on my list of places for a good swim.
Our last day together was inevitable approaching, and a lot of things learned during the week came to fruition, making the final session very productive and great fun. In the evening we enjoyed looking at our achievements. Oil and acrylic paintings were placed on easels, and watercolour paintings were pinned to the walls in the spacious studio. This enabled us to admire each other’s work, discuss technical aspects , and pass on tips in a congenial and inspiring atmosphere. Margarida’s little daughter and her friend, both aged five, joined us. They were given the honour of picking out their favourite painting from the show, a view of the market scene, and handed the lucky winner a Fuchsia pink Art School apron.
The aprons were the late David Clark’s idea. He was the inspirational founder of the Art School who sadly passed away a couple of years ago. His daughter Camilla is carrying on with organising the courses from the UK, while the wonderful Margarida, manager ‘on the ground, cook, and mother of two, looks after everything in the Art School wonderfully. Not to forget Joanna, the ever-present and helpful breakfast chef, who completes the team, making our stay in Olhoa such a success.
For me it was a particular pleasure to return, and help to fulfil David’s dream of filling the Art School with students, creating art and enjoying life in Olhao. I will be back next year – same place, same time! With big thanks to all who came to Algarve and who made it such an enjoyable week.
With all the best for the paint summer,
Tuscany welcomed us with open arms and blue skies. The old village of Cotto, nestling on the slopes of the Apuan Alps gave us all instant inspiration. There is so much choice, that it takes always a bit of time to adjust the painters eye. A short and leisurely stroll did the trick and we chose to make a start just outside the Vecchia Canonica - our home for the painting week.
The typical Tuscan front door and huge old wine flagons in their wicker baskets and palms in terracotta pots flanking the entrance to the villa made a perfect composition – and an ideal first demonstration. Beginners were able to learn a few simple rules about drawing for before applying water colours and also concentrate on suitable colours to use to represent the Mediterranean climate.
We were blessed again the next day as we made a painting excursion to the impressive medieval castle Verrucola, presently occupied by our friends, the family of the well-known Italian sculptor Pietro Cascella. The setting is particularly exciting because the big bridge over the river at the foot of the castle leads to the small village situated just under it, giving us a perfect foreground motif. This was a great opportunity for me to explain some basic rules for perspective, especially appreciated by the less advanced painters in our group. I was very impressed by the resulting paintings, since even the beginner painters had achieved a good representation of the jumbled roofs, towers and trees by the river. Another bonus point for this attractive location is the little restaurant by the bridge, where we had a delicious lunch.
The following day we painted around the village of Cotto with its many old stone farm houses, narrow roads leading up into the terraced hills at various angles. The stunning old church in the centre has almost Duomo like proportions, dwarfing the village and thus making it a irresistible to paint. Though the church has classical proportions and a lot of straight lines to deal with the old farmhouses offered easy subjects like old doors, stone arches leading into barnyards and ruined stone buildings with colourful roofs. These old stone buildings were the perfect subject with which to demonstrate how to create stone texture in watercolour painting. It was also time to practice further the 'wet into wet’ technique, which can make watercolour painting so exciting. This technique is particularly useful for covering large expanses in landscapes or on buildings on the outset of the paintings. Everybody had fun watching the colours 'explode' on the paper. But of course some more controlled brush-strokes were necessary as the watercolour progressed to capture the subject more precisely.
After painting for three days, we were ready for our free day in the beautiful city of Lucca. The train journey there through the National Park is wonderful with views towards mountain peaks, villages balancing precariously in hilltops or fringing lakes, while tunnels plunged us into darkness and back into bright sunshine. A day in Lucca is always great fun. Whether you are sketching , shopping or strolling under a canopy of trees along the stunning city walls that have protected the city since the middle ages. Naturally it's also a great place for visiting museums and to admire the white Duomo San Martino amongst other architectural gems. A local ice cream by the main town piazza in the shade of a sun umbrella was a must, since it was a lovely warm day again. On our way home we stopped of three quarters of the way in the village of Monzone, where our lovely bus driver Paulo and his son picked us up after a most enjoyable meal in the local restaurant.
Friday approached and we were eager to explore our nearest town, Fivizzano, a few kilometres down the hill. The bus delivered us promptly in the main square by the fountain and our lunchtime restaurant. But before lunch we had to get down to some 'serious' sketching, so we settled in one of the five cafes, or the gelateria. The aim was to sketch local people in a casual loose manner, not necessarily aiming straight away for a likeness, but to captures essential features and gestures. We had a lot of fun, sometimes making contact with people from the town over their coffee or ice ream. After another delicious lunch we went back to Cotto to add watercolour to some of our successful sketches. My demonstration of the simple three colour technique (see also my article in Leisure Painter magazine: link to add!), came in handy and I was able to explain how much can be achieved with just three colours!
Inevitably our last day approached and everybody was keen to finish unfinished paintings or get last minute painting tips before going home the next day. One of the 'tricks of the trade' I wanted to pass on was quickly demonstrated by the ancient public laundry troughs - still used by some of the al women of the village women to wash their clothes - where we focused on painting water. There was just enough time after lunch for a session with a very loose and watery panting of the big church with strong and dramatic colours. Later on we had an informal showing of our watercolours in the evening and we very much enjoyed seeing each others favourite paintings from the week. This is always a great pleasure for me, and judging by the happy expressions on everybody’s faces the pleasure was shared by us all. To celebrate a successful week’s painting we set off to a very special restaurant higher up in the mountains in the village of Pieve, where we enjoyed a last meal together, talked shop and laughed a lot. There only remained to give our thanks to our lovely host Karsten who looked after us so well, and to thank everybody on the course for being such enthusiastic painters and great company.
With the best wishes for a summer full of painting,
Bursting with wild flowers and bathed in sunshine, the Fattoria Mose in Sicily welcomed us with open arms on Sunday morning, our first painting day. After a late evening arrival, it’s always a wonderful surprise to find yourself transported into the lush gardens and courtyards, terraces and rambling olive groves that compose the estate. There were still some late ripening oranges and lemons clinging to the trees, a perfect splash of colour to lift our paintings.
A short stroll through the surroundings of the Fattoria helped us to select our painting subjects. Some of us settled for the massive, antique olive oil vessels adorned with flowers, while others chose smaller pot plants to begin with, or shady corners with views towards the old farm buildings. My first demonstration of the week focussed on colour choices, and how to apply watercolours in a free and easy way, while maintaining ‘control’ of the flowing pigments. Having made a good start, we were all ready for lunch on the main terrace.
The next day we awoke again to blazing sunshine, perfect weather for the seaside. Nearby views of rocky seashores and golden beaches at St Leone were an irresistible subject to paint. The azure sea was gently lapping and soon we set our paintbrushes to work. The intense colours of sea and sky gave me a chance to explain colour mixing and aspects of perspective in landscape.
We had another chance to practice some basic perspective rules on our outing to the famous World Heritage site, the ‘Valley of the Temples,’ near Agrigento. The ancient Greek Temple of Juno with its partly tumbled, rich ochre columns standing in symmetrical rows is a magnificent sight. It is surprisingly easy to capture on paper, because the shapes of the columns (Doric) are relatively simple and repetitive, and their colours are obvious variations of ochre and burnt sienna. Green colours were supplied by gigantic cactuses, and a range of shady trees at the foot of the temple, which was also a perfect place to paint from. Some of us took the opportunity to walk along the ancient road connecting the temples of Juno, Concordia, and Hercules, further along. An awe-inspiring sight with the sea glistening in the distance.
Wednesday was a non-tuition day, and we were able to admire the Temples from a higher vantage point. The town of Agrigento was built on a parallel hilltop, with the main road in the old centre and vistas towards the Temples and the sea. It’s a pleasure to explore the narrow old streets, and visit the famous churches with their Rococo architecture and chequered histories. Naturally we combined this with a bit of light shopping, sketching, and refreshments in the various cafes and ice cream parlours.
As the week went on and our paintings progressed, we were able to tackle more complex views back at the Fattoria Mose, like the private chapel attached to the Fattoria’s manor house. A challenging corner, not for the faint-hearted! But both, oil painters and water-colourists did it justice and achieved some fine results. Fortunately, there was a more user-friendly view from the track just above, with a riot of flowers and colourful trees. Here, the huge prickly pear cactuses made a perfect foreground to lead the eye into the composition.
Since we had non-stop sunshine for the entire week, the interplay between light and shade was particularly strong. This made our painting subjects the more exciting. The archway to the main courtyard, terra cotta urns by shady palm trees and surrounding fleshy succulents stood out in painterly contrasts. This variety gave me a wide choice for my daily painting demonstrations, tailoring them to the needs of beginners and advanced painters alike.
Inevitably, the week drew to its end, but not without an informal show of a selection for the work we had accomplished. We gathered with a glass of wine in hand, ready to have a look at each others’ paintings, and compare notes. It was impressive to see such fine paintings and the progress that everyone had made in such a short time. A lively discussion ensued, and the happy faces bore witness to a successful week.
We all would have loved to stay longer, but Saturday came, and we had to say our goodbyes to our charming and warm-hearted hostess Chiara Agnello, and her marvellous assistants Corrina and Marcello. With great thanks to Chiara for making us so very welcome in her beautiful home, and with thanks to all of you who joined me for the fun and who made the week such a great painting experience.
All the best for your painting summer,
PS: there are more pictures to bring back memories on my Facebook page.
Nine days of blazing sunshine and brilliant blue skies. This year Southern Morocco was on its very best behaviour for our merry band of painting students.
On Saturday night we were greeted in Ouarzazate by our friend, guide, and host Ali Mouni. Early the following morning we set off for the desert, stopping along the way in the town of Tinjedad for a lunch of the first delicious Berber omelette of the week. To arrive at the Nomad Palace is always a pleasure, and in the brilliant light of the afternoon, with rose tints and shadows defining the majesty of the Erg Chebbi dunes, its welcome is hard to beat.
Monday morning, the dunes beckoned, and our paints were clamouring to be released from our suitcases! We settled on a simple subject for our first watercolour adventure in the Moroccan desert, a view of the dunes with the occasional passing Berber included in our compositions, which allowed me to demonstrate the placing of figures in landscape painting. A successful first day for advanced painters and beginners alike was duly celebrated with a glass of chilled white wine or beer, before a a sumptuous dinner.
The nearby Merzouga Palmerie presented a more challenging subject to the artist, involving more of those pesky figures, working in their tiny fields in the shade of towering date palms, with a backdrop of pink toned village buildings in the distance. However, figures in landscape are easier to capture than you think in this neck of the woods because of their flowing, colourful robes. Lunch of 'Madfona' (the traditional Berber pizza, bread stuffed with morsels of lamb, vegetables and egg) was delivered on location by two Alis. Ali Mouni, and our friend Ali from the Nomad Depot in the nearby village. When the day's painting finished, we were invited for a glass of tea at the Depot, where we were shown examples of different handmade rugs, carpets, jewellery and other artisanal goods. Temptation proved too much for some students, whose homes will be all the brighter for their purchases.
By day three we had found the Moroccan hot colour palette, and were ready to tackle a grander subject. A few miles from Merzouga, at a small Auberge on a hilltop looking across a vast open desert landscape, with Casbah style buildings nestling at the foot of magnificent high sand dunes, we planted our easels. To give necessary shade for the watercolour painters, Ali Mouni and his helpers constructed a typical open-sided Berber tent to keep us comfortable. For the beginners there were also near-sight subjects of doorways, earthenware pots, and distant camels. Our painting concluded for the day, we ventured deeper into the desert using three 4x4s, and visited a friendly Nomad family for Berber tea. Though their lifestyle differs from ours vastly, their hospitality acknowledges no international barriers, and we were able to take photos of the family, their children, and their excruciatingly cute kid goats.
After several days hard graft with pencil and watercolour brushes, day four gave those who wanted the opportunity to experience some Moroccan life in action. There is no better way to do that than visit the nearby town of Rissani, on market day. Everything is sold at Rissani Market, from safety pins to camels, via herbs, spices, shoes, and local crafts. We followed that welcome blast of noise and colour with a visit to the stunning fossil museum, just outside the county town of Erfoud. A small group of us elected to remain at the Nomad Palace to catch up with unfinished paintings, or attempt new subjects in peace and quiet. In the evening we had the privilege of being invited to dinner in Ali Mouni’s family home, where we enjoyed splendid chicken couscous, and even more than that, the antics of the many delightful and affectionate children who are part of his extended family.
Camel painting day dawned, always a highlight of the week. You can't have much more fun with watercolours than sitting in front of four splendid specimens of camel-hood, slowly chewing their cud and batting their beautiful (double) eyelashes at us. Though at first it can be hard to pin down the image of the moving creatures, you soon recognise their typical poses and shapes. My demonstration helped to show that there is a variety of colours required to achieve a convincing 'camel' colour. The fun didn't stop there, as all but a few of the group joined me for a sunset camel ride into the dunes, after which a quick bargaining session with the camel boys rewarded them for their efforts, and put souvenir fossils into our luggage.
Our final day in the desert had crept up on us, and we had to make the most of it. A small deserted village near the Nomad Palace was the chosen location, and it did not disappoint. Under azure skies, the painting group chose their views carefully, some finding the single still inhabited dwelling a fine subject for their watercolours, others preferred a Berber tent conveniently erected nearby. For my demonstration, I continued my theme of figures in a landscape, and decided that the background would be the half open door into one of the mysterious dwellings abandoned after the local well dried up. We had our second ‘Madfona’ for lunch, eaten in a uniquely original bivouac constructed by a local ‘outsider’ artist, whose striking arrangements of desert oddments provided an intriguing setting for the meal.
The only thing that ameliorated my sadness at leaving the Nomad Palace was the knowledge that the next location was every bit as spectacular. Perched on a terrace overlooking the stunning Dades valley, and run by Moroccan brothers, two of whom are artists in their own right, the ‘Panorama’ lives up to its name many times over. After arriving at mid-day, we were able to paint on until afternoon had turned to evening, and then reluctantly packed away our brushes before the traditional show of the student’s favourite paintings of the week. There were many exciting works to discuss, and it was notable that the three beginners all had made remarkable progress.
Monday morning, and we made a fairly early start to ensure that we would have as much time to paint as possible when we reached our hotel in Ourzazate. Stopping only briefly at the remarkable rock formations of the ‘Tamnallt,’ we cruised back the way we had come, arriving to find that though we still had sunshine, a brisk wind had sprung up. Undeterred, we settled by the pool and were surprised by how sheltered it was, and by the number of subjects available for our last painting endeavours. Late afternoon, and Ali had arranged for the minibus to take some of us on shopping trip into Ourrzazate, where we could stock up on spices, and make those essential last minute purchases before admitting that the holiday real was almost over, and enjoying our final Tagine followed by crepes with honey.
Everyone agreed that the painting holiday had been an unforgettable experience, and we were very happy to take many wonderful memories away with us, as well as hard proof of time well spent in the form of our watercolours.
With best wishes for your painting,
The journey from London to Devon is never a pleasure in August, but it is always well worth it when the destination is Coombe Farm Studios. When I met everybody on the painting course, the courtyard and garden were filled with sunshine, and our first painting subject was right in front of us. The garden was brimming with flowers in a multitude of colours, interspersed with rows of salads and beans for our delicious home-cooked meals.
When I returned in September the colours were still as fresh and vibrant as before, tempting our paintbrushes into action. Though we did not have sunshine all the time, the weather stayed summery and mild on both weeks, and we enjoyed sitting outside in the varied locations.
Starting off in the courtyard with stone arches, and huge clay pots under the leafy canopy of cherry trees, we progressed on the following day to ‘The Ham,’ the lush green space by the river on the outskirts of Dittisham. Sitting on the shore, just above the waterline we had great views across the wide expanse of the waters of the estuary to the verdant fields beyond. The old thatched cottage on the opposite bank made for a good focal point, while the many sailing boats bobbing on the river supplied extra colour and useful white highlights. This was a good opportunity for me to do a demonstration the subject of which was the somewhat tricky shapes of boats on water. On the September course we had the added bonus of an early mist rising from the seemingly steaming river and hills, a true watercolour subject.
We stayed with our watercolour theme a while longer, and as in previous years, we had a painting day at the wonderful gardens of Jilly Sutton, the well-known Devon sculptor (some of her work was also on show at the gallery adjoining the studio at Coombe Farm). There, the river broadens into lake-like proportions, with lawns sweeping from the house down towards the water’s edge. Needless to say, getting out our watercolours and setting ourselves up to paint was the work of mere minutes!
We were not so lucky in September, because Jilly was preparing for a big show in Dartmouth, and did not have time to welcome us. However, we were amply compensated by a visit to the little harbour at Dittisham proper. It is the most charming village, with a steep road leading down to the jetty. The tide was just starting to run out when we arrived. The old Smugglers’ Cottage close to the beach could be sketched from the jetty, and later painted in watercolour from the beach. The jetty also has rows of colourful boats in all shapes and sizes moored to it, and some of us were able to abstract from those forms and make watercolours with a twist.
A couple of years ago Lara, together with her husband Martin, took over the running of the Coombe Farm courses from her parents Paul and Tina Riley. Lara was always on hand to drive us to and fro, and drop off tasty picnics and elevenses at our locations. Other lunches and the delicious evening meals were lovingly prepared by Nicky, our charming cook. Lunches at Coombe Farm consisted of such a mouth-watering variety of dishes; it was sometimes hard to get back to the watercolours afterwards! In my case, a strong coffee lifted me up again for the afternoon session.
Both of our last days in August and September were spent painting at Coombe Farm, in the studio. After the week’s painting there are usually quite a few watercolours waiting to be finished, and last minute ‘tricks of the trade’ to be passed on.
In August we had great fun with some life-drawing, after I demonstrated my quick and simple ‘Three Colour Portrait’ method. Extra excitement was added by the sudden arrival of a traffic cone, kindly donated by one of the painters. It was a witty ‘aside’ for my portrait demo, and the colours fitted perfectly. Please note that the traffic cone was NOT an essential part of my demonstration, and the portraits painted by everybody turned out rather well, even without the cone!
In September we started the last day again in the studio, spending the morning finishing our more abstract watercolours of boats, from the previous day. The outcome was a selection of impressive, strong colours with interesting textures and lots of atmosphere. After another delicious lunch there was just enough time to do a flower demonstration, completing the week with ideas about composition and colour choices. Inevitably the last days are always busy, with last minute advice, finishing work, and preparing for the informal show in the evening. So, when the final evening comes, everybody is excited to see all our paintings mounted on the studio walls. Over a glass of wine we get the chance to celebrate the achievements of the week.
It is always hard to part from friends, old and new, with whom one has enjoyed such fun, creative adventures, and so much laughter. It seems a long time until I am off to Morocco in early March 2017 for the first course of the new season, but my time at home and in my London studio will fly by. All that remains is for me to express my huge thanks to you all for your enthusiasm and dedication to watercolours, and all other forms of painting!
After a sunny arrival on Saturday, with glorious sunset colours over the mountains and Loch Kishorn, the weather changed to unsettled for our watercolour week on the Highlands. However, we were able to spend most days painting outside, and worked a few mornings and afternoons in the studio, always a great complement to outdoor painting and for more in depth demos.
Day 1 – After a delicious full Highland breakfast and short introduction to the week’s plans, we had a good look around Bynaport to choose out subject for the first day. The stunning views from the house towards the dramatic Torridon Mountains across the waters made this an easy choice. To scale things down a bit, and to simplify the vast scenery we selected the green shed with its elegant weathervane, as a foreground motif. My demo for the day focussed on how to strengthen the foreground while keeping softer and cooler colours for the distant hills.
Day 2 – The second day dawned clear enough to make the five minute stroll down the hill into the village. There we found a jumble of colourful rust-red sheds on one side, and a row of whitewashed cottages at the other end of the bay, while in front us was the glassy surface of Loch Kishorn. We all turned out gaze towards the bay, and set to work enthusiastically. By lunchtime, the weather took against us, and we retreated to the studio, where I was able to finish my watercolour demo. In the afternoon, by special request, I started a second demonstration, to illustrate ways of depicting with the delicate tones of cloud and mist rolling over the nearby mountain-tops.
Day 3 - Our third day started with the determination to venture further, despite the lack of blue skies, and we made our way by car to Loch Damph. Gillian and Mark Pattinson, our very welcoming hosts who live a Brynaport, also own a spacious wooden Hunting Lodge high above the Loch, and they had kindly invited us to paint from there. Gillian is a very accomplished artist herself, and was able to find corners in the house and adjoining workshops from where we could paint despite the recurring showers. The views are almost overwhelming, but we were able to quickly outline the sections of the landscape we liked best. The foreground was enlivened by a proud and bright pink group of foxgloves sharply outlined against the softer tones of the green and purple mountains. We spent the whole day at Loch Damph, which was a good opportunity to discuss the problems of knowing when to finish a painting. My advice was to turn away from your watercolour, have a cup of tea, and return with fresh eyes to make the final judgement.
Day 4 – Low clouds over the mountains looked unpromising, and we decided to walk across the road to the exciting rocky shoreline of the Loch. It was a good choice, and we sketched and painted the cliffs and bladderwrack festooned boulders at the water’s edge, while taking advantage of the opportunity to explore the technique of painting rocks in 3D! Two-to-three metre high fishing poles, standing upright in the shallow water, gracefully punctuated the scene. Later on, the rocks I had collected from outside were placed on a table in the studio with some extra lighting, and I gave a demonstration, showing the light and shade essential to achieve the best features of rocks and boulders. After lunch we were able to work on our paintings, until another delicious home-baked cake appeared at teatime, Alison, who cooked fabulous meals all through the week, is also a great baker, and never fails to spread happiness when she appears with cake-stand in hand!
Day 5 – Our last day had come, and with it a hive of activities. We decided to consolidate on what we had painted so far, and completed any so far uncompleted watercolours. For those who were eager to start a new painting, I made a final watercolour demonstration of a rather unusual still life. It suddenly struck me that the colourful desk lamps which had had previously used to illuminate the rocks, made a rather jolly composition. A great opportunity to explore on the technique of capturing the very dark colours behind and between objects – also called ‘negative painting.’ It is a form of silhouetting that can be very effective. Thus, some very fine watercolours of lamplight were accomplishes just in time for clearing up the studio for the informal display of our week’s paintings.
The evening was a splendid event, with champagne, nibbles, and lively discussions about the diverse watercolours on show. Just as we were about to leave the paintings to indulge in the special dinner Alison had prepared – a Scottish fish and seafood feast – we were held back by the sound of bagpipes! We all grabbed a chair, and another sip of champagne, and enjoyed the compelling music of the Highlands.
It was an unforgettable week, with dedicated painting and lashings of fun, and some drama too. Not least because of the safe return of one of our non-painting partners, who was lost on the mountain for a night. He was rescued by the impressive teamwork of the voluntary Mountain Rescue team and the military’s helicopter. The week had indeed had more than its fair share of excitement! Needless to say, on the day of departure, the sun came out, and no one wanted to leave.
With best wishes and hopes for a glorious summer,