This is a question I get a lot when I teach. The true definition of hue is colour. In a paint name, it means that it is the colour of that particular pigment, but it is achieved by using another pigment of similar hue. This can be because the original pigment is obsolete and needs… Continue reading What does “hue” mean in a paint name?
Do you sometimes feel like your paintings look a little bit flat? Here are 3 simple things you can do to add more depth... 1- Grey haze As things get further away from us, they get greyer. This is because the atmosphere gets in the way. Mostly because of little droplets of water, it gives… Continue reading Top Tips: 3 tips to add depth to your paintings
Finally! It took me a while to finish that one... It is a longer video and the editing took forever, but it is finally done and uploaded on my Youtube channel. List of materials used (you can click on them for links) Daniel Smith colours: Quinacridone Magenta French Ultramarine Nickel Azo Yellow Cerulean Blue Talens… Continue reading Watercolour Dark Rose tutorial video – last episode ready
By now you have probably noticed that I am obsessed with the rose 'Souvenir du Docteur Jamain'. I wrote a masterclass for Artists & Illustrators magazine, which is published in the forthcoming issue. I also filmed the whole process, from the drawing stage to the tone study and painting the colours wet-in-wet. I broke it… Continue reading New video tutorial: watercolour dark rose + magazine article
Hello everyone, I already wrote about the difference between transparent and opaque colours in a blog post here. This time I am taking it one step further: why do transparent pigments sometimes make opaque paints? 1- Transparent/opaque To recap the previous post, transparent pigments let the light through their layer to hit the paper and… Continue reading Transparent vs. opaque and why transparent pigments can turn into opaque paints
Good stormy, rainy morning! I made a new video about the 'Neptune'. It shows the road test in different conditions. As well as seeing the brush performance it gives you a chance to see me demonstrate wet-in-wet and pretty extreme dry brush techniques, while painting a quince and some blackbirds. I really put that brush… Continue reading New video: testing the synthetic squirrel brush ‘Neptune’
The ink has dried, the leaf is ready for some colour. Using a very soft brush (synthetic squirrel is a good option) and working wet-in-wet, I am using Yellow Ochre as a base, with some Hansa Yellow Light and Burnt Sienna. I had originally planned to use Quinacridone Gold but decided later it wasn't needed.… Continue reading Ginkgo Leaf part 3 – Watercolour wash