Posted on May 29, 2009
Quarter Imperial Sheet
© adam cope
The tonality is pretty good in ‘M’.
Two colours only. Ultramarine Blue, Burnt Sienna.
Watercolour Portraits Using the Direct & Indirect Methods
Posted on May 20, 2009
Quarter Imperial sheet 28 x 38 cm
150 € ex P & P
© adam cope
May is the time of tending lawns. I like the huge expanse of green in the above painting, a calm foil for the details & foliage clustered around the focal point. A perfectly manicured lawn in an impeccable village. Reassuring. Calm. I choose to animate it with the odd blob, stain & puddle (opaque cadmiums) so as not to be inflexibly empty in relationship with the buildings & gardens.
I also like it when the grass is high, before the first cut of hay. Seed heads gently blowing in the wind. Another contrast of ‘wild’ nature vs.tended, husbanded nature? How “long do you wear” your lawn? The end of our garden is currently white with michelmas daisies & alight in the night-time with glow worms & nightingales.
OIl on Masonite
41 x 33 cm
© adam cope
Posted on March 15, 2009
mixed media in watercolour painting
The term ‘mixed media’ should be mentioned here as well. But then where does mixed media ever stop? Motor car engine & pencil on paper?
Definitions can be troublesome.
Interesting that the paint manufacturers & merchants use another set of defintions to those of art societies etc.
transparent & opaque watercolour
The debate between transparent & opaque watercolour has been going on for centuries.
You can read about it in the nineteenth century, especially in England, where the use of new, improved binders & vechiles (increased soulbility) plus new artistic visions made one school of usage of watercolour go transparent because it could go WET. Really wet. Wet washes.
For me, I think an important dividing line is transparent/opaque. It’s precisely the transparency that appeals to me because it’s the solubility & wetness made visible.
It’s also rather difficult. Transparency, as in the political sense of the word, means that you have nothing to hide. You can’t cover over your mistakes.
But then again, opaque pigments. For instance, bismuth yellow is a fabulous 21 century pigment, the bright yellow of pollen on stamens, & it is opaque. However for a real understanding about opaque/transparent, it is necessary to understand the point at which maximum saturation of colour is achieved in watercolour. For instance if you use it straight out of the tube, it dries really rather dull. It needs to be diluted to become alve, as it were. ie WET to be transparent to be colourful. Whilst acrylics & tempera are wonderful medii in their own right, they don’t quiet share so much as watercolour this transformation upon dilution.
You do occassionally see artists describing work as ‘transparent watercolour’.
Posted on October 27, 2008
Posted on October 22, 2008
Posted on October 21, 2008
Posted on October 20, 2008
Posted on October 8, 2008
43 x 36cm
© The Artist.
Watercolour & Ink
30 x 40 cm
© Adam Cope
These overhanging rocks gave shelter in the Ice Age. They projected out even more in that period but have collapse over the centuries. A rock wall behind & a rock ‘cieling’ vault overhead. The night fires flickering over the crevasses. If you go to L’Abri Pataud, you can see that the prehistoric inhabitants carved their vaulted cielings. The below rock fragment was found at Catsel-Merle.
Museum of Castel-Merle
Images everywhere? Even on the vaulted overhangs? Like our ‘info-space’… Images everywhere. Image rich & saturated. Images are maps of the world, & function on a different level from the written word. Preliterate prehistory… these little squggly scratchings called ‘writing’. Writing often blinds us from the full use of our eyes. Most people today simply do not have much skill in visual observation, being more at ease reading a newspaper than sitting quietly in a wood just looking, waiting, like a hunter (or a plein-air painter, who also spends long hours, days observing in situ). Hunter-gathers have to use their eyes by necessity.
These places are also wild places, in the deep undergrowth. Rarely under the harrow of man the agricultor. They are not ‘humanised’ landscapes in the way that most of us are familar with. To see uncultivated nature is rare in western europe, as the spread of concrete & agriculture shapes our world of today.
The actual site of Castel Merle is run by the Castanet family. Marcel Castanet started exacuvating the site in 1910. Monseiur Castanet(fils) is a ‘grand homme de la Prehistoire’ , a Périgordien & savant, who kindly took time to show me around his museum when I was researching what might ( I stress might) be a lunar calendar, found at Castel Merle (will poste about this at a later date).
The museum of Castel Merle in Sergerac is incredible. Some of the many finds from the eleven shelters of Castel Merle are now in America.
The site of Castel-Merle
(Don’t miss the virtual tour – for which you don’t need to read french)
Posted on August 19, 2008
38 x 46cm (15 x 11 inches).
© The Artist.
450 euros framed
My funny & true story … ‘it really DID happened to me’ a plein-air painter
Funny story: I sometimes paint actually in the water when it’s hot. Sitting up to stomach in running cool water is a nice way of basquing whilst working. Such as the above. Sitting still for hours on end can however attract unwelcome guests…. once whilst painting in the river I was attacked by a lamprey eel! Black & ugly it was & it’s bite gave me quiet serious whelps & burns…
How’s that for an occupational hazard?
Posted on July 23, 2008