NEW ARTICLE
https://www.johnlovett.com/abstract-watercolor
Varying degrees of abstraction can add greatly to the impact of a painting by encouraging the viewer to observe and interpret suggested details. When our paintings are based on a specific subject there is often a tendency to rely too heavily on what we see. Sometimes it is good to step back and ask ourselves just how much reliance on what we are seeing is really needed to express what we are feeling.
A couple of new articles on johnlovettwatercolorworkshop.com
Painting Workshops
Exploring interesting painting destinations with a group of like minded people is a wonderful experience. Whether you are a raw beginner or an experienced artist, painting workshops are a great way to hone your skills, meet new people and have a lot of fun.
Paint Big!
Aluminium composite panel allows you to paint watercolor and mixed media any size you like and also does away with the need for glass. Here’s how to do it…
New article Update – Painting on location sharpens your observation skills and speeds up your painting process. Here are some tips to get more out of this enjoyable pursuit.
http://johnlovettwatercolorworkshop.com/painting-on-location/
Have a quick flick through my new book. They have finally arrived and are being shipped out now.
We have just finished two full on weeks of workshops in the studio. Some familiar faces and some new faces. This is the first time we have had a completely new group for the second week, so I thought it would be interesting to repeat some of the demonstrations with some variation.
These two landscapes based on recent photos from Western Queensland were started with transparent washes (Quinacridone Gold, Cobalt Blue and Permanent Rose) Then the trees and other details were added with more opaque mixtures of Ultramarine Blue, Phthalo Blue, Alizarin Crimson and Quinacridone Gold. Graded washes were used on either side to create a band of light through the focal point, then various layers of gesso and White gouache glazes were worked through the sky and distance.
I have painted this Old house on Sydney Harbour from various angles and thought it would be a good workshop subject, having problems of symmetry and conflicting focal points to be sorted out.
I was surprised when we started drawing, to find that one of the students had lived in the flat behind the house back in the 70’s – when Brett Whitely lived and painted a little further around the bay.
These paintings were done with the same simple palette of Quinacridone Gold, Alizarin Crimson, French Ultramarine Blue, Phthalo Blue and Permanent Rose. I also used Charcoal pencil, White Gouache, Gesso and Burnt Sienna Ink. The vibrant blue window in the top painting was painted with Ultramarine Gouache.
Not far from Venice is the small fishing port of Chioggia. These weather beaten trawlers make an interesting subject with their confusion of masts and rigging and the complicated backdrop of ancient buildings. The idea here was to suggest all the complicated detail without trying to carefully render it. We started with under washes of Permanent Rose and Aureolin and gradually built up detail over the tinted paper.
A different subject using the same transparent under wash technique. This time graded washes of Cobalt Blue and Permanent Rose formed the under wash.
Painting these Lorrikets was a lot of fun – balancing sharp detail with loose suggestion. The wings and much of the body were roughly washed in with an old 1/2″ bristle brush. Detail was built up around the head and body with a 1/4″ flat brush and a #1 rigger. Finally the wings were attacked with gesso and a white charcoal pencil to get a feeling of movement.
Everyone enjoyed painting these rocks and sapplings. The purpose was to shuffle around the source material to create an interesting composition, then to build up textures and depth with watercolor, gouache, ink, charcoal pencil and Gesso. We used a number of techniques – splashing, splattering and spraying to build up the textures and gesso glazes to soften and push back the distance.
Another exercise in rearranging the subject. This time a soft abstract foreground to lead the eye into the focal point of trees and buildings.
So thanks to everyone that attended the workshops and thanks to Dianne for the mighty cakes – back to dry biscuits now!
ROBERT & JOHN LOVETT’S OPEN STUDIOS EXHIBITION 2012
Opening: 13 April 2012 6-8pm.
Exhibition dates: 14-22 April 2012
Opening times: 10.30am – 5pm Daily throughout the exhibition
Robert’s Studio – 19 Chauvel Court Currumbin Waters – Phone: 0432 716 084
John’s Studio – 42 Tierney Drive Currumbin Waters – Phone: 0405 505 001 / 07 5598 6001
My Father, Robert and I are joining forces for a combined Open Studios Exhibition.
If you are in South East Queensland over the course of the exhibition, drop in and say hello.
Below are a few of the paintings being exhibited.
High Plains Rain
From the Foothills
Mountain Landscape 2
Barramundi
River Landscape
The last couple of weeks I’ve been locked in the studio finishing work on a book to be released early next year.
I got started on a couple of urban landscapes based on parts of New York. Early one morning I walked down under Brooklyn bridge. There was a lot of road work going on and huge trailers were lined up along a side street. They appeared to be accommodation for road workers – like a gypsy camp under the bridge. Big sections of road were fenced off and there seemed to be uncoordinated people and machinery everywhere. So much activity in a city that doesn’t seem to stop, and I’m just rubbing the sleep out of my eyes – that’s where this first painting comes from.
This painting is based on the chaotic textures, bars, buildings and patriotism of East Village. Both paintings are a mix of watercolor, collage, Gouache, Gesso, ink and charcoal, built up in layers like the graffiti that lines many of the city’s walls.
Splashing Paint 