Solving the Mystery of Watercolor DAVID TAYLOR AND RON RANSON dutornalirn al aniseForeword FFor some years now Ihave taught in Aust touring different states and cites. On one ‘occasion I was in Melbourne andthe organizer ‘of the workshop hosted a party for me to which be invited all the top artists in the Mefbourne area. It was a great evening and there was ‘tremendous sense of camaraderie. Is000 ‘became aware that I had been introduced to 4 nucleus of world-class watercolorss. In iy travels around the world [haven't before ‘encountered so much talent in one small area David was one of the artiste I met that night and we immediately formed the beginning of 4 friendship that has been close and lasting. David invited my wife and Ito his home ‘where his paintings thrilled me to bits. [My immediate reaction was to sa, “Tant co write a book about you". I was so excited by the prospect that then and there T stared on the sketches and layouts. David and bis wife Diana, a fine ol painter and teacher in her own right, already had several of my earlier books between them, so they too were enthusiastic. Due to circumstances of ditence and time it har taken us several years to actually produce the ‘book. We were greatly encouraged in this by Vincent Miller, a great entrepreneur and the publisher of International Artie magazine, Australian Artist magazine, Pastel Arist ‘International magazine and many books by such artist as Harley Brown, Tom Lynch, Alvaro Castagnet, Robert Wade, Ramon Kelley and Robert Lovett ‘Australia’s history of impressionism dates back to 1885 when the Heidelberg School was formed — the frst great lowering of Australian art A number of young, intensely nationalistic painters gathered together to evolve their own ‘truly Australian impressionism, producing & new and different kind of painting that has shaped Australian vision ever since Truly believe that the enthusiasm and support experienced by that early group is being repeated now in Melbourne. Since Iwas last there many members ofthe group have become known throughout the word, inciuding David "The last two oF three years hs fond him teaching and painting allover Europe, and the will soon be teaching workshops in the United States of America Although Ihave written many books over the years, my greatest joy has been bringing to the attention of the worldwide public, atsts ‘whom Thave greatly admired David has already achieved 40 auch, but 1 know that even greater things lie ahead. [hope that tis book wil contribute to is fame throughout the wo — Ron RansonContents Introduction by Ron Ranson Chapter 1 Materials and ‘Techniques Explanation of al the brshes, points ane papers needed or nor and outdoor 38 Examples of varius watercolor tecnigues including wetanonvet, wet-om-ne, de trsh,eallarepy, lt aed Sour ds Demonstration: Combining all the techniques in one street scene Blending cars an ret scenes Simple ways to pain boats CConrooring ear of izres ‘Varzing techniques for a aumy beach ene [Materials and techniques — Bxamples and Chapter 2 Composition “The priciles of design Choosing foe point Univing ee poiting Grasating washes The importance of deminance Balancing the painting Siping shapes 68 ‘Applying the principles of design recamples and explanations Demonstration: Following design rules ‘wereme a fine composition Establishing the fea point Chapter 3 Light and Shade: A cosr ook at eeting tna ale sethes Ligh and Shae ‘Me inportance of a god tonal value sete and how to price ceample and explanation Demonstration — Using trong contrast te portray sunshine and shadow ‘Using ight and shade for dominance and semoapee 86 Chapter 4 Creating Lost ancl Found Eetges Understanding the proces of ont a found sees a a fond ge inten aed county Demonstration = Soft and hard textures Pace Ltn found gin wooded landscapes emanstration — Working on very wet paper in Cornwall Geng an fund in Chinatown and ery OG Let ed Seed — Eee ond ep Chapter 5 The Impact of Color Developing your petonal clo sense Sra ralonl The oy oF ring unrestain soe Lane hom a go Complemenary harms Alte ieee eres in action i ‘Color magic on both sds ofthe work Enhancing your painting wth warm and col co Demonstration — tune in to colourful (Golor— txamples and explanations Chapter 6 Spontaneity and Movement Spontaneity and movernent — amples and explanations Demonstration — The bustle of an Enlsh streetscene ‘Channel lands Mond and snovement in buy street Demonstration — Racing the weather! Spntancy in thre dierent moods Chapter 7 Showease Discover the joo painting in the markt pace ‘Creaing diferent moodsin water ow brit eps oc or cam add excitement Paitin in igh a low ker Getting maximum power and richness nvetercnloe About the AnistIntroduction AAs you take this book ofthe shelf and quick ip ‘through the pages, you'l instantly get an overall feeling of feshness, tality, movement and sparkle. This impression reaches you even before you begia to stay the individual paintings themselves. Ihave written many books inthe past about various oustanding artists, but the inital feeling of excitement I got when I first viewed David Taylor's watercolors on mae gave me avery strong desir to wnt this book about him and his work. However, this time it needed to be 2 teaching book in which I could analyz his paintings in depth, and hopefully use each one 19 ‘mmpart is expertise to thousands of ether painters and would-be painters, to inspite them and help solve some ofthe mysteries of watercolor. ‘Generally speaking, watercolors ae divide into «wo types — one tight and considered, the ether loose, immediate, and painted with strong ‘motion. David's work definite the later! ‘When we look atthe paintings of David Tayler, his economy of stoke and simplicity of teaument appear tobe to very logical and easly obtainable. Hover, this is enormously deceptive. These results ar realy only achieved by fest thoroughly mastering the materials and then taining the Bran to anaize what is essential tothe painting and whats erelevane. Dealing with the painting process self and mastering the materials x mainy a question of time and practice — in other words, earning your craft. Thinking about i in tennis terms, sou first learn al your strokes, proctcing them until you can produce them instinctively, without having to ‘hink about them. Then, to progress further, ou mus lear your court-raft and tates, which require a diferent level of intelectual efor. "These ae the sme kind of fis, hard won sls you need for impressionist watercolor. As you ‘work your way through this book many ofthe ‘othcr sills that willbe needed, such as tonal ‘work, composition and design, and calor are covered in deta ‘When you frst begin painting, you'l probaly sit down in front ofa scene and simply record it asaccurately as posible without any attempt to ‘modify it. The next important stage however iso be able o design your painting, modifying many ‘ofthe clement infront of you, but this ime arranging them to produce an infinitely more satiing and wordile paiaing. “To most of us, watercolor isa psychological strugale with ourselves just ging the materials ‘out and stating sometimes requires a big efor. Ws usually down to fear of failure — of spoiling that lovely, expeasive sheet of paper. We afen put off the crucial moment of staring to pain by Finding all sorts of menial tasks to justify the del. “This fear blocks the way to loose, free painting ‘With students shows inthe tightness of thie paintings — the relucance to make a bold, Confident statment. Instead they prefer edge forward tentatively with weak watery washes, resulting ina completely anonymous, muddy painting with lite oftheir own personality showing through it rater asifthey had writen their signature caeflly and slowly, one letter ‘Vy assuming that most ofthe readers ofthis book ae would-be impressionist watercolor painters who really want in their hearts to loser Up. Lieve, to words ate all-important when rducing an impresionisi watercolor — puny land simplicity, Purity is che transparent quality 0 ‘eli a watercolor. I comes fom a diet sensitive application of paint, followed by an solute determination to leave that paint alone tnd not to “fuss it which sprobebly the most, ‘dificult ching ofall ‘implication also takes some doing because the natural tendency forall of usis to add more and more det. This may be because we're inclined to look a the various compenents of scene one ata time. Ifyou decide that the distant hillside ts what you want to focus on, paint tas, you se it when you Took straight at it you're Concentrating on this area, however, you'l find that ou of the comer of your ee the foreground appeers indefinite, therfore handle this foreground broadly, avoiding te temptation to sake it overclaborste. On the other hand, i'dhe foreground and middle distance are what acuacted sow i the fret pce, then concentrate on these parc and treat the background hills very simply, Perhaps the most common mistake made by ‘inners tha they try 1 say too much in any ‘The Arkaroola Range, 28 x 40" (71 x 102em) ‘This, David say, i very magical par of Aural He pained ds jumbo sized work in anes clasical ‘ave depcrng the shouted shapes of sums against ‘the Backdrop of the Bu ils. The ean textared ‘srt ofthe foreground contrasts eth and ‘omphaioes the oes of he hlone picture. If you overload a painting with too ‘many items of interest the main aim ofthe pasting wl be ruined and the raul wil be 8 complex confusion that says nothing, A very important thing that you should always keep in your mind i that a good watercolor results fom Enowing what to leave out. This far mone importanc than knowing how much to pu in You'll find that as your skis improve and you sin experince you'll gradually strip aay the flutter from sour paintings and proce pare and more direct statements hich in tun will probably give the viewer ilestely meee plemur. Simplification is about rng to capture the mood ‘nd not the detail, which means working a fast = You can manage w caput dhe effet you wan tisimportant wo understand the meaning of esign as itapplies vo watercolor, because unt you do you're simply not going o produce Wworthhile and meaningful work A painting is not just a coletion of unrelated objets, but should be am ierlocking and arresting whole, resulting in ‘complete unity. The sims 10 simpli hopeflly using fewer and fewer strokes, much in the same way thata good piece of poetry wil convey is meaning vividly, without using superfluous words, This book aims to take you deeper into the basic construction ofthe painting, looking a the thinking and planning which goes on long before you even it your brush! Autumn Calm, Yarra: 15x11" (828m) The can aimospher ofthis paintings ereated bo the shapes the bacheromd and sunlit Sassi Ue bevels Tecan ts are repeated dhroughout the pain, creating wit ‘The reflections in the eater handled se singly add wo the peace ofthe saneDavid's painsings here ae almost exclusively done en ein ar — worked in the Geld, where you are moved by the immediacy ofthe subject to tke avery fresh urrent approach to capruring the ‘scene on paper. Once you have mastered the technique of working boldly and loosely out of {doors you ean transfer that ¥erve to your sto ‘work In other word, the more you work on the spot the beter and more confident sour studio pincngs will be ‘Watercolor i ideal for working ou of doors and free Nowing qualities ares sited to capturing the Bele movement of light, which changes at cach ‘moment. When you puta wash down on damp paper you'te constantly surprised a what emerges Tefen results in chance often umpredicable effects. Sometimes the most exciting eects ae the teault of accidents tht can be induced but never really planned beforchand. Just being relaxed wil not necessarily produce loose watercolors because you alo need to fel really excited about what you're going todo, For inscance, Pye watched David prodacing painting and his exciement is so grea that he often does 2 few small jumps in the air — perhaps ic pumps the heart and clears the head, You'll also need good drawing skis 0 sketch your subject in with a few lines, saying a ot with very litle, The adtenaline nceds to ow so that your hand can rapidly transmit the information Dour eye sees to the paper with ine chat has life Basically David's painting aims always to lave something to the viewer's imagination, while at the same time endeavoring o convince them that what they do sei ea Finally, may I say that this book has not really ‘been produced for the total beginner, and a certain level of sls assumed. Rather sit for the imermediate painter who has reached the stage ‘where they will lly ene fom a close sadly of the work of top professional. The parpose of his book rather ike a master clas to hone your already acquired knowledge and sil oa further stage. My aim a the writer of thi bok, i 0 analyze David Taylor’ paintings throughout, and ‘ey to uncover the thought processes involved lehind dhe brush. I el, any watercolors just looking atthe paintings can't help but receive a shot of adrenaline and inspiration, but I'd really tike you to go through the book creily, page by page, absorbing the deeper meaning of Davids watercolors and by doing 0 take giant ride in solving the mystery of watercolor ‘The Harbor at St. Peter Port, Guernsey, 1115" 28 38em) ‘This paining is ful of sparing contrast, there, dark, eet-into-cet greens picking out the sharp profle ofthe budings Alto actcty onthe quay ied 2¢with a minimum of troker. Look the ay the tome ofthe sa has ben gradated give resonat Materials and techniques Unjortunately, spending @ fortune on materials in art shops doesn wn us Into good aists, yet we all do it, feeling that a certain brush, color or paper will transform our work and allow us to produce a masterpiece ovemight. In fact the finest artists «n ¢ offen those who use the fewest and simplest materials 1Nis only natural that we should be interested in what our favorite artists use 80 here youll find Davids own tools. AS well, most of Davids paintings are done (on site, therefore were shotwing his outdoor equipment, much of which he has einer adapted oF designed himself, Inclucing his own lightweight palene and working easel. Then, on the following pages, youll see his swaighiforward, simple techniques Dewi ase the devin of his outdoor easel on a ‘commercially produced photographic tripod. The staciont holds his Backing Board and pales, logsther with hs collapsible water pot. Another tscntal ca tol which he alway caves ith hi cohen panting ou‘The materials Brushes David has colection of large end smal Raphael ‘mop brshes hich he uss forthe majoity of his painting. Ds are Prnch and are made oferay ‘quilt, Tey are sft een dy, bu point beautify when eet. rote a book some years a about Edeand Wesson, a reat Engsh waereconit ‘who started buying Fron mop bras ust after the ‘war, Thy wore called French Poichers Mops and serena orginally intended for fine art. He became famous for using thom and they greatly enfuenced hi ‘ros brush uchigues There brushes quickly caught om ‘among his stad and they ae now wed by atts, "thronahout the srl, often in preference to the much more expensive ables They dow’ hate the spring of sable, but tei ery Rappiness imparts a sense of rondo, and many ofthe ros can Be made ch, ssn he de ofthe bra For detail work, Dail seta fow small pocket and Famer bashes, Far angld hes eed biings butt tome la sable end bras, Foal, for backgrnds hess ake ond very Lage ask brash Paper Dawid likes t experimen with various papers for special fects, but he predominanty uses Arches 180gsm and 300: in ough and cold pressed form, ‘and 30020 the smooth hot pressed form, He os, tes Saunders Waterford 20m rough, occacionaly Wharean’s Lana, and alo Bockingford pope. Before arin o pain, David sreche: his paper by thoroughly seaking it on book sides, then he wes a Maple jun dhat fires stapes int atin board. Who ‘he painting is finshed he ft the staples wh a mal staple remover Colors His colors are monly Wintr and Newton ett ality tbe, some Hobsin, and some At Spectram aan Autration company thar species n pring ara olos tt the Austrian landscape. He a he normally wer no more than i sven colors for any one punting. Thre may bean extra clr ‘oan in highligh an important fca point ‘Daria’ mall poets, hich ze fral hit ar aa casa a 15 cate Te Blues Geratean Bie Cobalt Bue French Ulramarine Winsor Blue (ree shade) Yellows ewe Sienna Rate Uber Auretin Cadi Laon Cadmium Orange Reds and Browns Cadi Red Deep Bros Madder ‘Quinacidene Megan Barat Stand Sous Greens Hookers Green (or Viridian) Another vie of Dit’ easel sawing water ot and pate Dei wing ome of his range of mop brushesDey Brush ‘When wing dry bra, the mow important hing ie 0 604 minimum amount of pressure and commit the sare ith speed, This ll ensre that dhe br ‘merely skims the suface of he paper leavin pnt ony fon tc topof the ran. I canbe ued rete ‘many eas, and you'l ee Dac’ ws of the techni ‘hroghout the book, Nataly his techaigne nocd race exe though it looks very simple. Wet-into-Wet To we this uchnigu, pain is applied ra sill damp teash, allowing the color to fuse and blond. The econ ‘int shuld be richer and songer, eth ess water in "he Brash Ifthe pai ito thin om this econ application thee is danger of back-no, 07 3 caulifower eet Wet-on-Wet Here he paper ie coted throughly, and moe tater Islet in che brush, Ie afford a wonder chance of crating Beautiful accidents — in fact, of leting teatro do on thing! Try acing so colors, ome (one side ofthe brash ne om teeter, Were! {sa veclnigu alma for painting ies, oF on Targe expanse. The more often sou weit the more and beter uss el be found forthe eclmigue Calligraphy This isthe delicae mse ofthe lo haired rigger brush produce such thing as he finest of ranches reeds and grass. Holding the bush at the tp of ‘the handle ill roduc a fre eft. Not rhe easiest ‘thing inthe ord bu ell worth racing Lost and Found Edges {this elnque bat dey brush and weno-et eam Be wed obtain am fe here hard edge gradually disses and ln, creating aa of -mystery and intrigue It als evoids the cardboard cutout fect and alls the oewer to we their ‘imagination — mor ofthis ltr.Combining all the techniques in one street scene Having introduced the various techniques, let's ‘ow show how they combine to produce a unified Sinshed painting. This unity can be best achieved uring the intl stages by regarding the buildings 28 simple blocks of color, which wil later be decorated and brought to ile by windows, doors and figures. ‘The wet-into-wet beginning After the paper has bon thoroughly saturated the Ind eases goin — the oking in, hich ell old the entire painting together he portant at ‘this sage tt the wari oar and ciclo ree together, as shown ble. This el gt the finch ointing a overall slo ‘The dry brush strokes in calligraphy This is wher the speed ofthe Brash i inportant sve spontancity tthe whole painting. Using stronger land richer paint, 2 quick ond igh ick of the tras il provide the kind of itaiy imposible to oan ith a slow, ponderous stroke. Is almost like shonhandShopping in Cortona, 15 x 11" (38x 28em) The resueing painting exudes warmth and movement andthe holiday mahere are lary enoving themedDraw in pencil Pencil shetche like the one abo canbe done in mimes. Your ars il som begin to lok authentic. Paint dark shadows under he crs shad hom doen Cars should naturally blend treet scenes, much as some of you would ik to Moving and parked cats ate a fact of life so yo might as well ear to draw them properly First of all, they should form a natural pat ofthe seene and not look as though they have heen added on as an afterthought. A row of parked cas forms single unit nd 0 they need not be dawn in separately Don't worry about such thing as wheels and ellipses — look atthe ears on these two pages nd you won't ee any. Once you get the general proportions ‘ofthe cars ight, you are there. You can lear this by taking the time to make pencil sketches of them like dhe drawing a the top left. Do this for afew hours nd they will soon become instinctive. Look through the book and yeu will see how simply and economically Davi has indicate his crs. ‘You can’t ignore cs Sketch in watercolor No details needed [Nese try portraying quik He watercolor Benin fished pinting, ie thie (hown agin shetces, ut concentrating ow he cars, ut ‘om page 79), only the gameral proportions matter — sethout any det ehatacver. ‘your ewer el imapine the detailsinto your townscapes Taecmade further away yComposition is a part of the att of painting that none of us can ajford to neglect and yer we often do. Although our first instinct may be (0 100k at a sublect ‘and painr exactly what is there, what we must remember is that nature is not in the business of design: design is the anist’s responsibiliy. We may need to move, select, and reject objects if we are t0 end up with a saxsfactory painting. Fortunately, there are certain rules andl principles which have been worked ‘our Jor us, and that can help enormously when applied properly 10 the ‘composition of a painting. This important process needs to be carried out before you take the paints out of theie box. Although Its Something we all ‘auiempt, if virtually impossible to compose and paint at the same tne. One of he greatest aristic crimes we can commit is to bore our viewers. Good design will hold the aliention. Remember, an ast is always an ennertainer Just like a singer, actor or musician, Tale Moments, Venice, 10 x 14" (25 x 36em) hiss what'd call a mood painting. In hati nonmaly abusing ty, here a air hoe of compete peace and quiet. Asa composton i ell falanced, and theo is tahen inte the pctre long the canal. Enerainment is provided by the colors of the bors, whe here sus enough deal set af the simple wih coich the buildings have teen indicated‘The eight principles of design “The cghtprincinls of design are tole we ean te tp produce balanced compositis in which harmonious and varied shapes, tones, exmures tnd colors create vital inert all par of the painting, while the principles of conflict and dominance are used to direct the viewer's atteation te the most important features, o thar the all come together in unified whol. Is ssi chat amateurs pint pictures, while professionals bull pictures with dese bricks of knovledge. With them artists can think, plan build, organize, express themselves and ‘ommunicite, Lets lok a he principles one by one. By placing red opposite rac, and Be aint yellows th attention i draen to the main objec of interest 28 1 nity ‘Chere yo deta om your paper mat lk ike 4 complete uni rather than a collection of bits {What Pm saying that an element that appears inone section ofthe pining shouldbe eco in note pat so that ll the sections a elated. In usc ems lack of nity could be expressed by plavng # bar of "St.Louis Bes” the middle of “ave Marin” Unity can he achieved in many 3), forinsanee, lage foreground ee can be ecoed tora smal distant te; loud shape can be ‘repeated in foreground bash large ung can be echoed by «distant building 2 contice ‘While we can se gradation to prevent boredom n theless portant tea of «paling, We can se cnt to neneriteeaiterent an meres, and to focus attention on the min robe. Cont is rete by placing opposites next teach other ght neat oo dar one a warm calor ages ‘cot one alae shape nex ca sal one 4 rouued shane nett a angle one, hoot Sc ‘fy want wemphasioe awe buding na taining no rater how small the ding you Garde bg peng Cdn es eee dr shape being i ‘This picture ha ty because i a pained spontansoay and weantoroet. No sopping and staring here! There's a wonder fle abou hs work, and colors ad shapes have Ben peated Brought Here you se how confit of tone dass atetion the cart, Leaving thie paper around it emphasizes Ihe feeHere see dominance of shape nthe repetition of the aonngs — dhe est ofthe pictur plays ona supporting oe ‘has painting hows repetition in hectic ins ofthe bade, but thet reward in length of ine and nal song, 3 dominance Dominance ithe most inponant aspect of dlesgning a pitig, and we need to dink about icin relation oll aspects shape, line, diection, teture edge quar, coal values and calor. Irvin because emake cea wha 8 mos importa in any painting. Of al he dierent types of shapes in your paling, one should be rina ofthe dierent types of tne, one {hold be dominant; thee shou be donant daceton » domiat toe,» doscant colo mood and dominant texture i Repotition pedo in asd for seneralresons. One is oun and make te painting bol ower Another sto rete val hm 0 thatthe eye can enjoy a vanety of neresing tras betwen tepeted apes or colors These shapes or clors ts be varied, became without aration epetton + borne For example, wth row of tres, some thenld bere ma oleae oo fe row dan aig and vary the clos. Once you begin 1 think abou epetton, your imagination wll supply an endless variety of opt The dominant feature are obviously the dark tones, with the mid-tones playing a suberien oe This is repetition of horizontal ines, but the shapes within tose horizontals ave erie neice ad shape 10 prevent boredom:Alteration sachs bythe negative haps een we tes {his case the Large boat on theft Balanced by the ase smaller boats on the vig. 5 anemation “Tits ceely connected ompeiton because cis what ocrurs between the repeats, Color atemation ean const of iene colors dhemating beereen neu oe warm color trees coos Ateraon is simply repeated intelatonship ofsequenee, rhythms in ier between any of the design elements, Ie acteres ny with vay Iris a iythmical sequence 6 natance One ofthe most important aspects of composition isbalance I'a painting doesn’t havea sense of balance wl ook unsaisfacory, no matte what «se you do. Unfortunately, nature doesn't present us with nicely balanced scenes, and its always ‘empuing just paint a see without thinking about balance, Balance i way of making things look sight W's a matter of arranging festures that are diferent in size, tone, color, shape and texture, s0 that they balance each other visuals, For ‘ample, large shape closer o the eener ofthe picture can be balanced bya smaller shape farther ‘out, close tothe peper's edge Theres akemaion in the ws of clo: worm and col, tense and sof The larg tee mass marth center ofthe pcr ts alone by the male oneom the right‘Thee iferenc berocen the angle ofthe ines of shading lends a harmonious fe 10th serch (this sac ese the gradual change from col 10 warm color together with the change fam soft 7 maemony amon clement ina pining te those hat are silt, They ar vat our palntingsbeease they can create terest in ss imporant aes, shila th sare time unin he compostion amonious color are ove to each ter onthe color wheel such as orange and red. Harmen Shapes are ilar a cise and ap val for trample ora square anda etal, Hammonios Sines are thowe that are clos together Strught and Slit cured lines are harmonious, a ar clone tonal values In shor, harony ithe poste of contrast Unit contest harmon water ul, sil changes tat you ca set nace ners ito a sube. 8 cracation 11x15" G8 38cm) Thar ae mary lesion tobe earned fom this painting int, notice the horizon, sch painted awry ‘vl ls Bu sith touch of pink ohana the dita howe. ko, merely hinted ware te yacht a ther ‘moorice. The hark alli theme dominant port ofthe pancing becouse of the davk tone wed. The ord boats are fray idcted, mow ith dark, epaine sapoe The arm dao sal eon furor darkened atthe base o enhance the hee Bots front bo conmterchange. These boats ari tum indicated by the minim of sich, spontaneous stroker, a2 are the ‘es onthe lft. The foreground harbor foo i brought forward by the ws fh wath. A fos quick licks are ‘nog indicate the harbor debrisl Jsing light and shade for dominance and atmosphereCreating lost - and found edges The lost and found technique forms a very important part in David Taylors painting philosophy, He encleavors to achieve it through brushwork, But what does this phrase “lost and found eiges" mean? In Davids own, words they are, “mages that appear quite sharply, and then dissolve inio mystery ‘and soft tones, even vague shapes, creating a sense of distance, recession, andl flowing amospher the eye and imagination of the viewer. Iralso, importantly, avoids the cardboard cutout fook in your watercolors, So, how do you feam this technique? It requires discipline and alot of practice. When applied convincingly, lost and found edges can take your work inno another league. 11s fascinating ancl subile way of teasing andl pleasuring Laneway, Murruru 11x 15" (28x 380m) ‘Ths isan excllont example ofa painting sth ot an found edge occuring throughout Tis mbt cauld have easy been painted i oft boring ‘way, bt Davi has gen the subet am inrgning touch of mystery, in which the viewer ts pesowlly inooood. One example is he the oases on the {fares appear sharp, and then sen, i, Australia,\nderstanding the process of lost and found edges Brecey Moments; Yarra Glen, 10 14" (25 x 36cm) you haven't consciously use this This sa painting of enormous vz, a excellent example of before, where do you begin? No mat ‘he fect fot ad fod ede ay compton, Take the words [write about tthe coy way to expla tis ‘0 gum 2s; htt hard edges ar softened in par, The one 98 technique to use the tex in comunction with ‘he Left has wer-in-t areas, whith ne onthe ight has Davis paintings I'm ari thot thie means more ‘buon meted withthe dry brah teclnigue, Notice the ae of work and concentration from you, but T promise i green and dark blue the foreground. The hard edge tthe willbe worthwhile, Read the captions carey, ‘ortom blends ino the grec, ick te Blond ithe soting each reference in the actual painting. 1 fel iid, The ares of untouched white paper provide wth sure that by the end ofthe chapter you'l havea the comtas of hand edges thoughout the panting such here idea of how the technique ean be spplied to your own painting. (One ofthe wonderfl things about impressionistic sates in Davis paintings isthe way in which they stimulate the viewer's imagination and easy, ‘The us of stand found edges produces vitality nd atmosphere in painting which could etherwie ‘estate and a. Inmose instances, song, sharp lines cam be softened into fost edges Bending ino the background, and this is pechaps the mos obvious vay of achicsing the elt, However lost edge can also be obained ina completely diferent way, by ‘sing the dry brash technique. As the bnush is pulled lightly across a tetured surface, the color becomes broken and fragmented — in fact, lst edge ‘The Heart of the Hunter Valley, > 21x31" (33x 79m) ‘Tis pointing hat om entry deren mood, There's 11x 18" 28x 38m) This a picture of much sublet ad sstity. The comiplretacry reds ad mawtet ee ied teaeghond to rear effec. Nice how the cool grins in the Alinance gradually esr as we move ford in the Scene. The olor ofthe muddy water has influenced and distorted the color ofthe reflections. Th areas of tentouchedpoper are sed wo counterhange and add Sparkle othe picture — just Fook atthe 0p ofthe rocks andthe center tee. hes\\ll the different greens in actionColorful shadows in a street scene This isthe sort of subject David thrives on, busy street filed with people, cars and exciting shadows, From time co time he hs exhibitions of his work at galleries inthe Channel Islands and takes the opportunity to paint senes around the ‘various islands ‘Thsstret scene is in St. Heli, Jersey. By working quickly, he finished the painting {none siting while the light was constant. On ‘the dry paper he made simple, steaightforard drawing stating the obvious bulings, boundaries apd broad details only — too mach unnecessary sing inhibits fesh result. Then he wetted 1h sides ofthe paper and began panting [Bren in a complex steet scene ike this many ingredients can be merged nto larger basic shapes o give overall simplicity: 7a The pointing is fst blocked in ith broad shapes, sehich ar exo thal the picture together the Degining and aed any sugestion of biy-nes” ‘Aber the Background ‘windows, hich are uchad in fey. Some of theme shold have broken edges, eich s done by sing 0 airy dry bruh and a guich stoke. thes are on cme the With dhe main shapes enabled, the songer ames and deals are put in, Hower the word deta is ‘Fraughe wth danger. Det shouldbe pu with Shel ed ree cong pert Maks nd ‘ha some of the ors on the pape, rather than -yur palette — look hoes much this has heppened on the dark splot te nl af theca Now i's ime forthe figures and finishing the cars Remember to keep the heads sll andthe bodies, tall Finally the ain overall shadows a added (Workout Befrchand exactly where thse shadows ‘ould be, th tae a deep beth ad pt hon in icy and decisively.) The shadows sem to pl the ‘whol picare together. Compare the last t20 sage.Rivoli Corner, St. Helier, 1 x 15" (28 x 38em)‘The Harborside, Honfleur, 11x 15" 28 x 38m) ‘Reaching for the Sky, Melbourne, 15 x22" (38x Seem) This ite fishing porn Fronce ia magnt for arin everohere. Itt fll of’ Das inatinstols oats, afr, th of hlidaymahers and dancing color and David has made am ordinary sect scene. The tibra se of eve on op of a warm under layer ofthe eater has relly st the scene, an rm it one has gen fet the rad surface. Notice thatthe same moves has been repeated fmagines a lols: dor the bright nge and ue behind the pared carson the righ and onthe sha rong set uch pape We tothe fiching ‘The rich wet-into-er et, lio on the righ, have ben further enhanced by the boats, and thee the gre tarpaulin. The dark refit in right Blosoms. The sae reds been raped in ie uni tthe parked cars and thColor magic on both sides of the worldEnhancing your paintings with warm and cool colorsLow Tide Salcombe, 11 x 15" 28 x 38m) This great example of how David hes enhanced 1s cles beyond até crcl inthe sane, Whe sal Being eto the spirit of the scene, he has injected ‘more in the ay of esnal pleasure. In reality he oregon each i basically warm chr, but dhe aration ofthe cool gras/raen and blues bins ‘ut the arnt even more. Youle a wariaton of th tc the oeround bigs on the eft Arthe picture recede into the dictance David has Altrec coled ad simpli the grees ofthe Sackegrownd gras and eso accentuate the deph The dar, contased area ofthe top of the harbor steps has bcone the foal point On the Move, St. Malo, 15x11" G8 x28em) White iss seemingly a sraighorvard srt scone, David's we of rich, contrasting clos a the ono right has fled che picture with vital. Gover this area up and youl se how important t 4s eis extremely unlikely shat such avo of color as there athe ime, bu this eeative me of lor and contrat therefor al of usr se if we have the courage. Note he playing down ofthe building atthe end ofthe src ove a definite depth of ‘zane. The warm shadows inthe set, painted inv the dry brah echnigue, are alo important ila Darling Downs, Queensland, 11x15" QS 38cm) This epcity Austaian scene i fl of sharply contrasting tone and calor, What aes his puiting tt ofthe ordinary isthe detiteate exaggeration of the color rane. The dark greens and yellows of ‘he foreroau Bin col doen in the mide ince, andthe col rang of delicate mawess takes eer. Tas 50 oily painted — and yet so much ele 1 the imaginavion, giving the viewer a hast, of posi. To exp uy in the painting the sauces have Ben repeated hroughou, from the Forgr bung othe completely beable shy‘lune in to colorful street scenes ‘When wandering around the stress of any town oF city let color be your guide. Tune in visually to the colors that soround you, Select an area and ry to se it as 2 finished painting fled with rch color sd light For example, take this scene; David was walking inthe strets of Cefal, in Sicly where he was teaching. It was warm day and tere was a holiday atmosphere. His eye was caught bythe ed tablecloths and colorful shits, made dramatic by ‘the strong shadows. An added advantage was that he clearly had models who were content to say there for sometime enjoying ther coffee and the ‘endl company After complting snp drascing, many ofthe Thur tne ofthe background are added, mang eet there is plenty of ari of color he Stonework, and leaving touched paper for the sonbrellg. The tablecloths are painted ina mise of Cadmium Red ond Rate Sieona. Cadeum (Oranges alo wed t provide xan oor in surrounding areas. The figure oe aso indicated suing stage Colors used Aurel, Raw Sienna, Cadmivo Red, Cadi Orange, Broa Madde, French Ulramarine, Cabal Bie and Sepia ‘Strong shadows inthe doorays and under the tembrellas give poser te the design, andthe able gr and chairs or ily indicated we he rigger [Now thera ofthe shadows are added hich trong the picture toe by emphasising all de ight lors, Shadows mst aaays be fish, spontaneous and coll but never vercrkeCHAPTEY Spontaneity and movement These two words, spontaneity andl movement, are interlocked tn painting. One promotes the other. But how do twe capture this elusive qualiiy. Without it our Paintings seem pedestrian and predictable, lacking excitement no mater how "much color is put into them. One thing is for cenain — you cant fake spontaneity, There is no easy way out, “Whar if just painted faster?”, you may Say, Sorry, but it is nor as easy as that. Your paintings would then just look careless. No. 1m affaidl you are in for a long, hard ride — spontaneity can be time consuming! Real spontaneity can only be achieved by consistentiy handling the brush with confidence, deliberation and conviction. Yes, speed of application is Imporiany, but ithas to be speed combined with hard eamed skill. Thar skill only comes when {you have thoroughly mastered your materials through years of constant practice. Padua Market, 11 x 15" (28 x 38em) This pining ful of conta —the contrast ofthe large background buildings again the thie anings of the markt, andthe contre ofthe coo muted colors ofthe same buildings against the hot iid dues of the produce in the righ foreground. Overall oecer, the hoe pairing sul of spontancty and movement becnse ofthe ony the cra are handled, ‘oh he Fgeres merging and constantly erapping A rough color pater ofthe scone‘Shown on these two pages ae four examples of David's work painted i particularly spontaneous ssl. Studying them asa group may belp you analyze his fee approach. As your eye goes from one te another, you ean see his shorthand method of siggesting such things as windows, roof, walls and figures ‘When you are painting inthis sve, with quick brush movements, & ‘window ora door may appear out of line, ora curve misplaced, and the temptation iso stop and correc it with another stroke — don’. Wait wail ‘the completion ofthe painting and then decke f anything needs attention, I probably won't — the ee wll quite happily take inthe impression a8 ‘whole, whereas corrections wal stand out like a sore thum®, Summer Gold, Bay Street, Brighton, $x 10" (20 x 2Sem) This very simple patter of colors and nes gives a wonder inreson of gery ‘and vitality, Poca effetoe are the strong darks again the eibrat yells fhe trees. The cars are again indicated eth grea economy, and yet they are totally beceable ‘Town Square, Norela, Umbria, 10 x 12" (25 x 31em) The simplicity of eaten here so deceptive —it looks as though anyone could do it Hower, «painting ke this demands enormous restraint and diptne {from the arise. Take the people or example separately sme of them might not ‘wor but, cllectzly, ther entelycomeincing. Laok atthe portance of the ‘ane, and color of the shadow across the sat.Life Along the Sea Wall, 10 x 14" (25 x 36cm) What makes thi itu so fre, the tremendous richness and varity inthe ren ofthe recs. This further emphasized by the smplerearment ofthe sunlit beach, The sea walls ‘meted with snple competence, eile the ealigrophy ofthe roiting and touches of rand Bue complete the sen A Salute to Dinan, $x 10" (20 x 25em) ‘Tre auvumnal shades and cao tome ofthe binge 1 he armosphere ofthe sunt squars, While the tate has ben put with spicy and diecnes 1 the Bottom right comer that Lind mot exiting, Adicont tothe back and white figure ae placed some lly touches of ed blue and pin, which are etal satin. The entire pictare hasbeen beaunly harmonisedortraying the bustle of an English The dra tearm color, aw Senn Bioes, go n ng having ben completed, light washes of in. Burns Sienna, Bron Madde, together woh complementary col ‘The painting i wall under wa andthe vine has terms for Db eas te mat bred hap ‘veering the surface a ucla ponable and leaving ll deta wil ater ‘The oxming and the activity ned tobe etablched. ‘eis necsiary to atthe fgues in wry quik, as they moved faster han hs brush! You cam see me the td dees, there Dev hs ale eed into the ren the darks Behind dest and te figures. Sepa, Burnt Unbor and Gadiinon Red (re the cobs wed During David's last wis othe UK, the main purpose of which wa to allo ine for us wo work ether on this book, heals tok the opportunity to tour varios parts of England. In Somerset, he was delighted to discover Linton, and s00n cup bis easel nthe main street ofthis charming town Mi subject and fl thatthe passing shoppers and stationary vehicles add impact and excitement to the goneralstmoopere. This First instinct was sight. 'm sure you wil agree thatthe final result js fll och color and movement Met ofthe paper is covered and David begins ‘on the righ sde, pug in he parked voices and surounding tonesstreet scene — oe j =Getting Ready, Sark, 12 x 11" G1 x 28m) There ae moar alse onthe tiny ian of Sark wo hore are bmporant. Tis ain describes the acy surunding a draft hrs ast hares up and put Beeson th haf ofa care. Te spontanity fs inthe fuer and th hors, ‘ehh are ian th quick igh srotes that sugges mocoeni Raining, Tidal River, Australia 15 x22" (38 x S6em) This i a etna pice wt he cle pape Bing thoroughly soaked before ‘beginning painting. After the sy ie finished the sant Blue ls are put ith richer paint — te exact ining of this ie ale am educated pest, but experince play a large par The nearer, wearer brown hil is pained with ce richer pine laste paper dics. The river tackled next wih the erection pt in ft and ‘the ight foreground added in tar senna of increaring nrongth lowing the Shadows, Rome, 15 x 11" (38 286m) The mos: important sing about this psntng i the rer difeenc of clor temperarebeteeen the distant city nd the oregon ulin of this si suet. The dicate mares of the Background are high key, suggesting mity morning, horas the dark nee prides atharp countorchange sith the bung fn the ef, David has iar many the olor ints this area, tino, to pride visual entertainment, andthe ado colors added the seni sect are ‘overs The ore painting ie spontaneous, ul fight, and punetaaed by the lrk bu fh dicated figurespontaneous brushwork in the Channel Islands ‘Shopping in the Rain, Columberie, 11x75" Q8x 19m) The mod ofthis painting i tated by the cool color of the ky andthe foreground street. The sy sil looks rainy, and ye the un sama breaking though ont the Bight boiings in the mide dizance. The lw nerd ofthe ‘ainting lake somber, with bras, dark figures, and 1h coo toner ofthe iret. The only este hie ean tahich becomes the main abet of interest. The brassork Urauphou i spontaneous and ivy, yor Dad sil ‘manages concey the atmosphere t0 match the ie Reflections at La Havle, Jersey, At x 15" (28 x 38cm) » There's wonder len tbs earned from Davi’ sof sche pape, pce chen you note hw eh placed lars net tothe eit gee mason pac. Tis i dicate cmposon eth beauty rampart ease ‘Pat in with at pontannes movement of te hae hm, athe tha rking rm the eit. Spntancy i ceenrohen rouge the panting, fom the a sin te bachgnd hls, the abe as of ong dares color exactly wri ead. Many diffrent tecnigus vt hod arg bu eth oneal econo of sro woul be meaningless, but as pat ofthe whole erate a ense maneood and movement in a busy street Tis icreily cient nd besifelwall oo Tacany, famous for its oer, contains a eal of ajct mater forthe artist. In this fst sage the apr is throughly dampened and the main basic shapes prt witha big brush, David has used plemy of inte technique, bu sting caret leave some hie for later ie Nore the paper ha did, giving the opportuni of usang in Rard edged days. David has made ws of dey bach chien carious pos, and the fret av losely indicated. The orginal ete areas nos : = oa ‘The Archway, San Gimignano, 15x11" (5 x28em) ing. yo 0 that wer cooris (added othe rer surface and farher definition sien tosh building4 Reflections, Commercial Arcade, 11x 18" @8x 386m) ‘This sree sone in Guernsey absolutely typifies bth spontancity and movement in tatoo. I portrays action he set withthe figures dodging the ‘uddes — you can almost ear the splaaher end ‘uindops. The economic reflections ll the tory, a (do the luda shudders ofthe figures. De goods in the wars shops or merely hinted a ith nam ‘olors and plenty of darks. The wndertatement is the {op right comer hess the exe concentrated on the ‘mowing street below. Speed of aplication contributed tothe succes of spain, Narrow Street i Italy, 1x7" (tx tBem) ‘This ecg study dome very quickly relies on ‘enomnous contrast to produce impact. I's shaped composition eh he dark, ear afternoon shades malig the lig on the bouldings a heen ofthe ster ok poste dazaing. The speed and confidence with tohich dors, windows and balonies have tom hintad at sce the fing of spontaneity. [Notice the ay in which the tne poss have boon cated as negative spaces, sith she shadow painted quickly around than Plecting Moment, New South Wales, 11x 15" @8 x 386m) Although a compete contra in ubjct mater from the eter ts paintings hee, this again ous painted ikl, om the spor. David was ting zt the Feling ofthe aferoon brace by the al of the brusrokes ming from one side fo theater, ‘hosing the dtual dni hich the ind 231 bowing. Spontanity therfore, i aed give cscttenent oan oer tac landcape. Novice Iw the ee i atracted othe eft mide dance ‘ohore thee ian area of maximuon contrast.Racing the weather! ight washes for the lightest cones Th fs igh wash is Lain fro the Hight one on samisdamp paper. The sky is mixture oft Bus, trth Quinacridone Magente and Burnt Senna wied to gay the shy darks. The mile tones ar then ‘added. Novice hoe the leaning boat hasbeen lated 1 gun maximum intrest and contrat ‘When David came over to England to work on this bool he asked me to give him alist of my favorite painting spots —~ Porlock Weir was definitly ‘number one. Within afew hundred yards there are dock gates, thatched cottages, boas of every TP, all surrounded by hilsides, and with versthing changing throughout the day a the te ebbs and Focusing on subject [Now the general olor are added the boat. Dhe ‘warm tomes being Burn Stnna and Aron, and ‘the cool alors Cobalt, French Ultramarine and Quinacridone Magenta forthe cabin. The boat new commands focus ond he ony things needed ar final dei and balence, a ows. Abo, no one seems to bother you while you're painting. David has decided to concentrate ‘on one elder bout that has ben lef high and dry by the tide, His palete consists of Cobalt Biv, French Ultramarine, Burnt Sienna, Raw Sienna ‘Quinacridone Magenta, Aureolin, Sepia and Hookers Green Adding important accents ‘The brush orks quickly to dan the reflections and sy end put in aces n the eater onthe righ ‘The colors are intensified using Burnt Sienna and French Utramarine forthe accent,‘The Leaning Survivor, Porlock Weir, Somerset, The fished paining is fo es guia In this meant thatthe panting ha wie of threatening rain hile the the deteriorating weather ancy eas ipo be fined quickly:ringing vitality to street scenesThe Blue Blinds, Albi, 1 x 16" (28x dem) The impact of color bins this conto if. The us Binds against ther, although unexpected, lend eal. Aided bythe warty of erst ens, the ee rae inameiarel asthe soca semble aginst the dark backer. The hahoity and again 1 The figures, alto Note ho rp tokes cH mol hinted ot ae thoroughly cosine the shades have ben pnd i ith in Si than: enero aa sie Busy Traffic 14x 10" (36 x 25emm) The oud of hs punting is comply dierent rom the scene on the opposite page. Here the sve appears much ‘more bine and formal. Een the weather sems ted, possibly bee of he diferente Tparcalary tke the ecrno-st tres a running into the lot rate of Ue bugs. The ite the background the picture ienber rere unity. The recruit paper aso itaBlowing up a Storm, 14 x 18° (36 x 46cm) This isa wer-ino-wet extravaganza — almost a happening! 1s enormous fun odo a punting lke this. The paper neds 19 te thoroughly wad om both sides and you ned 0 aac it ith strong color, because the wet paper naturally dts everything yon put on ic You ned to work fram bac font, starting teith ‘the ky and mocing forsard to he bottom of the page. One the ‘main washes are putin, the es are indicate with paint straight from the tbe, rohich will of owe soften when dr: Summer Mood, Yarra Glen, 10 x 14" (25 x 36em) The werint-ct here is more controled and the we of the hard edges changes the mood completly. Here the atmospheres hot and sunny, hich i achicoed mainly by the heightened color ‘and variety of tne. The foreground tes have Ben painted both tee-imo-wet, and later, wet on dry. Ths sa two performance of ret joy, and I would love to have ion my eal. Dancing Shadows, St. Aubin's, 10x 14" (25 x 36cm) This painting wes an entirely differen approach, bu ell ontatns the important ngredint of imac. Everything hee has a sharp clarity, and yt there i il rom for the eit wt ‘heir imagination init inerprtaion. David has wed the zhite untouched paper in many areas of this painting and, ashe often doer, nser srg dark colors adjacent 10 thom, to heighten the fmpact. The scone contains peat examples of atermating clo, {tn the arr ofpinhfshite and gravsite aco the panting The etre pictur is had together by the song mauve shadesCc . ‘ ea ©pontaneity in three different moodsCHAPTER Showcase This section of the book includes a collection of David Taylor’ recent work Imagine that you are in a galery viewing Davids work, but instead of a fleeting Luisit, you have all the ime in the world 10 study the paintings. Think: of me as your guide who, as we go from picture to picture, will attempt to highligh the points from which we can all lear. lt may be color contrast, counterchange, or simply the toay our eye is led into the painting, Your involvement is important. Youtl probably need to move backwards and Jorwards jrom caption to painting several times. This chapter is just as much a leaming experience as the rest of the book, ‘and juest as much to be enjoyed. St. Aubin's Harbor, Jersey, 22x30" (36 x Técm) This is a pinting about conrasts of achiqu. The sharp contrast of he bats again the harbor sail’ Jnmediney auras thee ecanseof the elo, Suh as een he was rns in the tarpon ‘Ae t2e moe futher ino the pining he hoes ad ackaromnd il creat an aa mated, aac [Noce ho the small zea of chr othe right of the printing is repeated in the group of bangs in the centr backgrovnd,ecating ost of unity,iscover the joy of painting in the market place at4 Bargain Hunting — Albi, 11x18" @8x 38cm) ‘The background buildings here have bso tated th soft simplicity and debertly retrained ‘lor They are ied merely a Foreground seen. The foreground has bee putin cet goat generosity. Thee i geat riches of rand conrst. i lok a hat Bae — i’ fl srngth, Thor pontanty onthe ofthe eres, showing ter cages 10 i he Dil hs woe the the ind bergen. ‘whitepaper ogreat eft. What's Cooking, The Market, St. Peter Port, 15 x 11" (38 28em) i Inder markt. Ts srg L-shaped composition eth the ral colon on theft bing balanced by efron the right 1° 0 inpertane be able» Indian convincing fg, i tthe sane tie create thet he fat, sos that are ee In proving he fing spontanaty and movement There ar no hors. Only aftr month of prac sail ou achicee that appar nonchalan approach [onc to the ces and warty of coer in the rally donk passes ita ct boring and monotonous ley and make them ‘The Market — Albi, 1 ¢ 15" (28 x 38em) Another corner ofthe tame market som th opposite page gis usa wasn contrast ith the we of Cadminm Rein haf and ful rent “Hlere 2 2 the scone in closeup. The composition isexilone. Novice the way the darks ae Dalanced against cach other Although the figures Ihave ber osely indicated they give a felng of ctcty and purpose tthe scene. So sll are ‘they portrayed that he srs eft witha rome impression of that the figures or wearing and ‘ehat they ae aboutA Walk in St. Malo, 14x 10” (36 x 25em) Wha exces me abou this pang isthe way that David has indicted the frou ara with ach athoiy. Tha’ ali a groa some of ceion ‘chive ty coling dow the color tear the bac of the picture. The untouched papers used ina mastery ‘way, Naice hos cach ofthese areas har a dark one ‘aac tot, eich eds freind exement t ‘he pointing Nose the ingle sayin shck dy Brack Iearhtey she in ees setae Jersey Landscape, 11 x 15" (28 x 38¢m) ‘This dant ves of Fee) is oui framed by the foreground tees. The ese fisted ino the dance by the various layers of tone and elon Nie how the roofs ofthe bins ave counterchangedby the dark tes. Te ocealinprsion is ofa am day in sumer viewed from the shade ofthe tees jut outside our ‘isin. The painting poem added eet by the cal colors in the distance Marco, Rome 11 x15" (2 x 38em) This painting i about the rich contrat of rome aren inthe tes with the darks an ight of he tai and podesrians. Look at the wath ars om the left are Imerly deh and hgh shapes against each othe, and yet they are completly comeing. The Bacar buldings have een putin wich om interesting sublery ‘of color. David doen’ use mashing id, but manipulates untouched paper with fred and incredible silhe Sea, Greve De Leon, Jersey, 25 x 36em) Here we se strong use of dy brash inte foreround, ‘aint in rch, warm color. Th dry brash as boon ragged aeroe the face ang hee exiting sipped srkes, The seme techiq has ben wed the tance, bu this tne to cone the impresion of highlights on ote. Th rng headland onthe let ofthe painting has ben indicated using a loaded ruc, the aa retain uc sey of caer The foreground mans and tractas harmonize sonal we he adiacen igh ads, ang a ee of try to the sone Rounding a Corner, Le Bugue, 14x10" (6x25em) This is one of my favorite svct scones — it gives mea tearm and satis fling each time Hook att. This ‘may be due tothe way the strong, car mane shadows fhe tet entra oe ith th eubleclore ofthe tudings The oye is taken immediatly the ream ‘oloed car beau contrat against the dark shop ‘indo. Ae re me furor Back ito the sone, nice ‘ow atthe en ofthe strc the tomes ae mare ade and delicate, giving a eng of distance. The cars are Iiporaant, Try covering thom up and notice how the tre medias lonesome of tsetse tn, ar laced and have theron ar to laySmiths Gully, Tarentaal, 14 x 21" (36 x S3em) River Barges, Paris, 14x21" (36 x 33cm) ‘Te frsground ester ts ben tested with great simplicity. The bruhork has ven tthe mood ofa busy and constantly diurbed stretch of ver. Te bares ‘and othr river erat are economically, but well dicated, ond anven the cone Sth thei ich Bact and rh the cee ocd he ere Bcome clover together, icing a strong seme of dutance. Novice he delicay ofthe ridges and how they nrc the robustness ofthe arg.reating different moods in waterSunlight and Shadow, Dinan, 10x 14" 25 x 36cm) The thle peting seams to revo around the brgh yl wal the mide ditance. Thi fs becouse Dav hat suounded it exh strong, ‘warm darks. The darks are important becnse they show up the acenings and the igre The treatment heres bose and fish throughout et here a rong mpesion of medical ton As you lok athe panting youl notice added touches of ont, ih cl that enliven the ‘ainzngconsideraby, The forground tables teed char ares uthent, eh the omg Shadows are pin sift with dry brush, Fisherman’s Haven, Chioggia, 10x 14" (25 x 366m)ow bright spots of color can add excitementMoorings, Dinan, 11 x15" @28 x 38em) This ic a strong and cizoons waterolor, with the background ees edt pick on he profi of the of The reflections ofthe tes are painted very lol eth ral eure, ed hey indicate ota, eth jut the right amount of movement. The slated patches of bright Bue ‘ond red rein ust the right place o make that area the fol pint Jat ry covering the up with our fnger ‘and notice how much ofthe impacto the painting tito tha oor, ‘Our Come the Blinds, St. Malo, 1511" (8x 28em) By nos you'll have realized that sre scenes are one of Dawid’ favo snbets, a they shoe hae el he cam suggest 0 mach th 0 fo sok. For instance, lok at ‘thao of ar andthe apparent casual roe made for ‘each. Homever we ca relly lary fom the add bright ouhes of range be, and yell scattered among the ‘more ebuec colors ofthe buns. Notice, aha he hao across the sect are not dl gray, ta ube ‘mauce. Dont you lve that casual yg man inthe ‘shite shi on the right?‘Tackling panoramasPainting a subject that goes back mies, while cxcting, presents its ovm dificult challenge. On ffs piece of paper youve somehow got to give the fmpresion of enormous space and depth. [e's all done with warm and cool color and tone, working fom the furthest distance tothe nearest foreground. 4 The Sweeping Coastline of San Juan, Jersey, 11x 15" G8 38cm) (Ones the dei completed the dant horizon sind aul simple srs of dy bras oer 0 sug rexaure. Moving oreand the ees and countrchanged ses ae in darker, but comparaiely coal or From here tothe foreground the color warmed up ‘with icherrens and pins. The shorn its has @ Song Shp, ME td his cg he ditenee Net we tak, Ebest gre as bre, resid wo the fregrnad ‘Tortevel Skyline, Guernsey, 11x 15" (838m) ‘Ths painting al about a isan oan eit igh shining 0 ‘the raps. This dane by ing faiy stone clr lacing smouched perfor ther. The ipresion fone of tase ery dear dar afr sain ohare tha not mac ecesion i the dicance. Hose, by using ear, darker enor mare the ‘Srot vertigo, Noe he wry sub pik of the foreground oof, complemented by the adiacomt seen grass ond ‘he oad which ae ele take the evento the peiing Rolling Hills, Smiths Gully, 11 x 15" @8 x 38em) This painting, near Davi’: home, gives an impression of enormous dpth ad space 18 pict of hg unr, the nearby golden hill are contacted again the ble and ma of the unending dizance, Tis punting eas begun at Oe back ‘nos, meray hinting atthe wars planes and oad. The the Sk frepror eal are wala wth ra pom tee ea land more dt [is realy ed practing or yours. The far zane i ery nb and the ater content ery nsePathway through the Pines, Yarra Glen, 1511" (38 28cm)ainting in high and low keyAll Tied Up, St. Aubins, Jersey, (ite 15* 28's 38m) Tos isa very high hey painting wsng thin color swathes and ery clo rnge of wal eae, ‘Speci the Background, which evokes he ‘eng ofoing inthe ight on misty Reflections, Salcombe, 15 x 11" (38 x 28m) ‘Tiss fi oe hey painting in which David has sed avery inte pate of our colors — French Uiramarin, Cadmium Orange, Burne Sina and Cobalt Blue. He has manag to coneey a ens of Alstance and myrtary here, Hosen the 54 he has Ian the ete deserves tienen {8 more complex than wewal. He hes fst gradaved the goer ufo to pce dept, and woe ofthe darks have ben putin with oft tint et Aer alsing the surface to dry, he has added further dark ios, eluding ome dy bruh the foreground the treatment ‘morning. Not the way the ey ropes holding the Bouts lnk she background 0 the foreground. The harbor wal ow the fr left hes the aye into she aiming and along the quay where David has portrayed the strongest contrast. Passage De La Grande Hermines, St. Malo, 11x15" Q8.x:38em) What mes thi pansies special isthe cea David has plod the light shapes again the dark. Log a he tps of the ‘mins, the balcanss ow th Uf, and mort of ll the washing hanging ars the srt, This has bon done freely without using mashing fd. Notice that tho he has added th bright cals ‘ach ones repeated in another art ofthe painting to achieve tiny. Look a he dark re on the figure andthe bri eee of the ening. The wt chaia have heen added with goa.Getting maximum power and richness in watercolor Clouds Over Elizabeth Castle, Jersey, 11 < 15" (28 x 38em) ‘This a ery poserfl painting of contrasts. David has wsed a suble acherownd fet into-wet shy and on topo his he has placed the srongsouetied shape ofthe caste with alts color and countrchange. I rot of his he has cea ‘masses of tecture and light indicating the rocky eu-ops at ow ide. Thi ater isan exelent example of the maximum we ofthe dey brash chnigue 1's realy worth stdying and experimenting ith Fishermans Haven, Chioggia, 11x 15" (28 x 386m) » This hing pou ah of Venice has lng bee a fart vee for ats ‘From ll ver the world. Beth David and Ihave tanght eatalor ther for “nacmatonal Ais magacine. Everything happenin dhs one-mile og al ‘Beautifa uings ath arches, gracfilbidges, ad hundreds of moored fing ‘oat, I abot ops your ear hon ou fist se it. The shapes the oat sm to merge withthe stoner of te bulings fl Dac has comply cape ‘the bust spare, and magic ofthe or wth very lid sakes,