Frank Clarke Simply Painting River Bladnoch Scotland

[Music] while we've come down from the distillery to the river here the river blagnac and behind me is the picture were looking for nice tree with reflections in the water that's the one so let's head back to the studio you join me and we paint it together oh [Music] there you are you caught me I'll just get me some tubes of paint come on over here we get started of this thing anyway we have a wee chat about blood knock in great place yes well well I've got the paint in me hands let's run through the materials and we need six this time and they are raw sienna light red ultramarine burnt umber lemon yellow and Payne's gray now we need perhaps on little white gouache so we leave that there but the other two tubes we don't need so we take them away there you go now we've got three brushes the large gold hair the baby gold hair and the number three rigger we have our tray which we call a pallet we have our charts for controlling the water on the brush we have a pot of water and last we have a sheet of watercolor paper which of course you must have to paint watercolors and it's 14 by 10 which means it's long long ways and therefore it's landscape and that's it so let's get on it let's have some more fun a rise in sky middle and foreground can't say that often enough for you so let's get our straightedge and our pencil and draw the horizon line and be as I'm doing that you have a look at the picture there and see look it's the river at blood knock hmm lovely spot wasn't it imagined on in your own distillery what a lucky man and it's just below halfway now wanna have the pencil in me hand do you see the near side of the river there I'm going to put that in as well I just just do it cause down write down for any quickly you don't have to be exactly the same and on the far side then there's a kind of a a river bank that goes up late yeah there you go that's it done finish with the drana and actually if you look at those and there's only one two three lines in it you can actually see the relationship between the two can't you excellent well let's get the old large brush into the water there and then we put out our paints leave it there to soak yeah good idea always particularly when the brush is new let me tell you because there's an oil on it this goes use an oily go yes and what you need to do is when you get the brushes when they're new you need to soak them in water for a couple of hours just to get the oil off and otherwise didn't take the slate all over the page and it's true this and I know you have to ruin the me and there's nothing worried okay we got some raw Sienna some blue some lemon yellow there's three of them out now we've put down the bottom here we go Payne's gray that's the brown for the black fella pronounced acai beside that the burnt umber and the last one is the light red that's your six colors you'll notice that I very seldom use much more than six colors that's because you can mix these together to get dozens of other ones isn't it yeah well enough to be said about that got the horizon let's start and paint the sky and the first thing we do is we put a nice wash of raw Sienna and let me tell you there's two reasons for that the first one is it actually makes a nice creamy effect on your sky because it turns the blue kind of a creamy color on the white a nice creamy color and secondly and more important at times you can see where you're wet because it turns in a little just a yellowy tint now let's get into the blue into the into the water into the blue swish it around fill your brush rook left right left right and then we're ready to go now it's a good strong sky there isn't it yes yes where few fluffy bits in it and there's a nice white bit down this side here so I'd only get a little bit of the old light red there and stick it into her just to create a little whiny color why any mm-hmm I'm talking about drinking I'm talking about wine that's a very alcoholic make sure this one isn't it oh yeah look at that that's lovely isn't it that's the nice wine color no it's a collar I'm talking but isn't it yes course it is I don't want to go down here because you see what I've done there's a nice green Bank of trees in the background then we're going to put those in next now give the old sky a bit of a dry just a quick dry there just to make it set hair dryer off we go [Music] dad to do a stuff now we've got the hairdryer back and we look at the next thing we do you're always paint from the back of the picture forward what I mean by that is the next thing we're going to do is that hedge or the row of trees behind do you see it there yeah let's get out that so it's raw Sienna lemon yellow and a bit of the blue don't make it too vibrant because the thing about ditch isn't that it's further away yeah it's further away than the one area isn't it as we'd say at home that should be alright now it's the corner the big brush and it creates these kind of Roundy kind of shapes to see them now I put the first bit in forced go right up the whole way little points on the trees up you go there that's it and right up the top here let's tell you about some paper and what a what an advantage it is to have good paper because otherwise you're won't paint good watercolors that's all there's to it I'm afraid there's no shortcut to that you have to use proper watercolor paper and the thing about watercolor papers it comes in a lot of different makes a lot of different types and to give you an idea there's three main ones there's not there's hot press and it's rough now that's so when you march into the art store instead of being confused by all these dreadful names you'll understand what it is now let me tell you about what they are first of all let's take the nut that's the one I mentioned force that's what we're using it's a kind of a medium paper and that's the one I use most of the time there's a little bit of a tooth on it to grab the paint and it's quite nice to paint with the next one and now I'm taking some of the raw sienna here but a tiny bit of the red in it that's what we need these are nearer anyway the next one is hot press now that means it's flat there's no grain in it it's it's smooth and it's not really the kind of thing I'd like to paint watercolors on I'd be happier if you stuck with the other one the third one is a very obvious one of the three is the one that's the only one deserve is if I said to you was rough paper what would you mean exactly that it's rough the rough paper can be difficult enough to use because unfortunately the brush hops a lot on it now I'm just putting you know they're not building up my little not nice now you can actually see these trees there are all different kind of colors and things and so that they're not flat and mash look on it'll be pick it'll be drying time now with that lot so let's do that let's try them throwing the far away saying now isn't that nice to get back to our paper for the moment therefore I'm getting this small brochure because the next thing I'm doing important in a bit of land so you work down the page and it's quite lightened in shades so we use some of the lemon yellow and there are Sierra anyway paper also comes in weight thickness but instead of Carla thickness to call it weight so it runs from about 90 pounds up to about 350 400 person Oh 400 pounds paper would be like care aboard which can be very nice to work with there's just one tiny slang about it it's awful expensive so I don't use it that much right this is a hundred and forty pound sometimes you've got a 200 pound that's what it means it's the thickness of the paper oh if there's some technical thing called you know the amount of a ream so many sheets to the ream and uh but I'm not bore you with that did enough to do to say that if you go in and ask for 300 pound paper to be thicker and more expensive but stick which are 140 that's strong enough yeah now instead I'm doing I'm building a little riverbank there and that die stir now here and there I've left out little bits of white do you see that see it's only a dab of the the baby gold hair and the brush will kind of curl up that way for your little bit you see so you just have to kind of dab it like a chisel now now the Walter got the big Bush now now before we hit the water I think maybe it's a good idea we just give it a quick try that'll be that very quick y'all hear that was a quickie didn't take long that did it no now let's get in some blue so the river were laughter now big brush now watch this now I'm gonna put this bush I'm now I'm left-handed so I'd start from this side you might want to start from that side but if you don't if you want to follow me watch this put the brush on the paper and as I go like I turn the brush do you see that and the same again underneath and no one behold I've created a straight line well what I have done as well is I've left little I've left little bits and bobs see hmm that's me water in give that a dry now [Applause] there we go now there's a bits of white flecks there I'm gonna leave them I rather like time I need to look grand now what's your next thing we look at there's a big tree there do you see I'm in the middle of the whole thing yeah why don't we just act at him now first thing to do is to put in the trunk of the tree and for that you need small brush okay and he spoke there somewhere isn't he he'd be that far down both there yeah so put the rigger on the paper press down hard and go off up into the sky with it I'm not gonna do an awful lot of her work on this tree that'll be enough because you can't see it so there's not much sense if you can't see it important in branches and things starting again light to dark know if you go see we just feed it in there remembering now it's going to get darker in a minute so don't now trees are often as wide as they are high don't make them like telegraph poles see that that's tiny - now this is what the corner of the brush and the brush is fairly dry so I've given it a good you need to dry it on your cloth like that that's why those slots are there so use them now if you like a great exercise for you guano correspondent finish don't go out now and into the guard and find a tree and copy it just the tree nothing else great exercise you'll love it yeah that's me tree is coming in better now isn't it he's a nice fella this tree isn't he I wanted a bit of a darker paint no just up that side there that's good okay it's a nice tree this is enough mm-hmm I'm gonna put a bit now down at the river there we're gonna put a little bit of foliage and things we're going to do it don't worry we put the we put the reflection in in a minute now first thing is put the tree's trunk in and that comes down there doesn't it all I'm doing is repeat in the river exactly what's above us that's good at this now it can be a bit darker just a tiny bit darker the reflection I know it's like that you see and then I come straight down here like that right down to the fireside well across the river is not a very wide river Salmon River though our friend the distillery owner do you know he has two miles of this river so he can catch his own salmon gar he's so completely self-sufficient only a lucky man now that's about it isn't it that's how that looks sensible doesn't it ya know it was a very famous painter years ago for the matter of it I thought it was very funny I actually met him in Dublin and in fact I could be standing corrected but I don't think so as far as I remember he was Irish now what I'm doing is I'm putting in with the big brush some good green strong green colour see because in ours because we're over this side of the river we can be that's to give us a foundation to put these other trees and things on anyway his name was Sir Francis Bacon he lived in England and he became a soar and he used to paint pictures I can only describe him for you as people's faces and they always seem to be in pain Oh grotesque yeah but they were very famous and he saw was he and he made huge money or to make him people's faces on happy faces but the funny thing was his name was bacon and you know what he was before he was a painter yeah you probably guessed well he was a butcher bacon the butcher I thought that was very funny I didn't say that to him because he was kind of a serious man I wouldn't want to be upsetting him but he's no longer with us unfortunately but I think he was from Dublin anyway it does he was bacon the butcher but he was baking the painters and I knew but only how people often you know their names and they sort of one joins the other like mrs. white marries mr. black and things like that don't know why I'm telling you that but I just thought it was interesting but if you ever get to see his work though it is very grotesque yeah now I'm using the brush now again do you see what I'm at and I'm creating these kind of bushes taken out on this side here it's a simple picture this I'm going to go down a bit thinner and then I'm gonna put in some darker color because this is quite a dark side this I want I show you there's another reason for making a dark as well this is burnt umber about me and hmm I'll tell you why in a second I can do better than that I'll show you why now that looks nice now doesn't know I have the disadvantage here a bit I'm kind of screwed into this chair I can't get out of it because I'm not allowed to move too far but if you could stand back a bit now and again from your picture you'll do far better now get the old nail and run it up there look at who are these things we create oh they're nice trees yeah not easy that's a kind of a tree finger yes and it's dead simple don't go mad at it now I'm gonna have to do a bit more on that bank and got all kinds but I've got something else to show you got the old pencil here carrot on horseback I thought it would be nice you could put him in the Riverside there if you like he's a simple one for you over to the doodle piece of paper now and I want you all to get a pencil if you haven't got you have painters you can do this anyway look pencil anything crayon I want you to draw for me a carrot class one carriage no foliage there it is got that next and draw a tail on it all right then a half carat on top of it and I tough without a doubt I just thought it'd be nice maybe for this one death look you've got a horse with a carrot on it you might like to put them in along the riverbank there now that's one way of doing it but suppose you want to do it the other way suppose do you want the horse to come toward you right just think you probably said I she's showed me that horseback before yeah we didn't see this that way see this this look now this time we're gonna put a carrot up here for his head see it and ears on him and fill in there yeah now this time the carrot goes up on top again well we're going to put a coat on this fella look and on the top up here their head you put the head on again but you don't fill it in completely easy so so now you have a guy coming toward you so you got wonderful they're going away and one for the common told you carrot on horseback yeah away and told you just thought I'd show you that interesting hmm let's get back to this picture now if you want to put that in one of your pictures feel free so the old carriage is a very useful man isn't he he he he fits into many places that was the famous one I think I told you before about Paul Cezanne he said the common carriage properly observed will cause a revolution parties and said that long time ago too so we couldn't have been talking about me now all I'm doing is look I'm filling in the shadows here to represent the route you see the way at the shadows going into the river just like that gives a better life to the whole thing doesn't it yeah and then we have a look here and see now there's a couple of other things about this there's quite unusual one of them is what we know in the in the business as a touristy brush now what does a touristy brush mean let me show you I take the big brush I dry it and then I just Ronis right across like that it takes it lifts off the paint see that and it gives us kind of the impression that the water has the wind kind of blown another way you get those little Eddie's on the wall right just like that two of those that's enough back down to the bottom now again isn't that simple yeah right let's put in we need some more yellow paint we'll run out of paint oh my goodness me that's a bad thing now when you do that and when that happens don't try and paint without paint I've done it myself I've no yellow left so what do I do I try to turn the noise red into yellow by mixing it in I don't know how many people do that they're afraid of their lives to use too much paint it's so expensive no it's not it's just we'll just mean I artists I mean with paint oh that's good that's too strong we got to make it weaker a spell on it yeah that's a lot better I'm gonna darken up that bit there now I have a reason for doing that we got something nice to show you now in a minute and then we're gonna get some more of the old burnt umber and give her her down swish there here and there see you know little bunches of weeds and weeds and things yeah another bit down here and then we get on to our next bit making use of our whitewash is the next one put that down there get out to whitewash now now the white gouache is a great man for this way do you see this you get a small brush swish it around in the water now into the white gouache which is a white opaque paint now I think we should maybe give that a tiny bit of a draw because I see now that there's a what's just a sheen on it it's awkward that's fine now couple little just dots nook that's all little white dots yeah it just kind of breaks up to think now I'm gonna take some of the yellow here because there was some border cops now I I put the white dots first because I didn't want to mock up me paint the white gouache now it's loaded little border cops up there look at them mmm all up in the forest and everything else see them absolutely how I get none grand yeah I think that's nearly enough now I think we wash out the brush go to God's wish now we put the weight aboard its board time when I'm up there and then we get the pen yes and we do a little a little scripting down the bottom here the old signature and then last but by no means least something I advise everybody to do take your amount put it on and then lean back and I have to say to you that's all and from me it's slower lat once again which is good by an Irish and try this out and have some more fun you

Channel: Frank Clarke

Views: 36,126

Rating: 4.875 out of 5

Keywords: Frank, Clarke, Frank Clarke, Simply Painting, Watercolor, Free Lesson, Landscapes

Id: _GcI_Oln4vI

Length: 23min 39sec (1419 seconds)

Published: Mon Feb 26 2018