Keith Noble-presentation

All images © copyright Keith Noble.

My objective was to convey to the Society, in a 2 hour demonstration, the direct wet in wet watercolour techniques. To also capture the light and the atmosphere of the subject and to complete the work in the allotted time. The subject, chosen from reference at hand, was Tenby Harbour, late evening.

Prior to starting the demonstration I discussed the materials I use.
Paper: Fabriano 140lb rough (used in this demonstration) and Two Rivers 200lb and 300lb paper. Artist quality paints by Winsor and Newton and brushes Series 16 Sable and an Omega 40-40 1½" mop brush for larger works.
Palette: As few colours as possible which is to help harmonise the work. In this instance, Raw Sienna, Burnt Sienna, French Ultramarine and Permanent Rose, with the addition of Cerulean Blue, Cadmium Red and Cadmium yellow used only on clothing of figures in harbour.

Commencement of Demonstration: Masking fluid was used very sparingly on some window frames and white clothing of sunlit figures. The initial washes show the blending of colour with plenty of water and pigment reversing out highlights where necessary, resulting in a soft ghost like image of the finished piece.

Second wash - strengthening certain areas allowing the first wash to show through in places. Using the tooth of the Fabriano rough paper to obtain broken edges by skipping the brush across the surface, especially in the shadows across the beach and the harbour wall details. No fiddling or drawing needed. Darker areas applied while lighter areas were still wet to keep hard edges to a minimum, and to where you want them. To obtain this effect without excessive bleeding of darks, more pigment is added to the water than before. The more pigment that is added, the richer the colour becomes and the less it bleeds.

Third Stage: Remove masking fluid, paint figures on beach area. IMPORTANT: I keep figures as simple as possible - this applies to all figure work in paintings. If too well drawn, the eye will immediately latch onto them and look for defects. The work has to work as one unit and not different sections competing against each other. Some figures in shadow areas in light clothing are lifted out with a clean damp brush giving a softer effect than those harder edged figures in sunlit areas. Careful use of colour for clothing is important, only one or two red and yellow shirts appear - just enough to brighten the beach.

The finished work, I think, caught the atmosphere of that Summer evening as I remember it.....the sunlit white buildings against the soft shadowed foreground. My reason for painting the subject.