From Hazel Soan in her studio
"This week in lockdown I couldn't resist returning to the African bush (virtually) and indulged in painting the dust and mud of Etosha and the Kalahari.
In my view dust and mud are made for watercolour, and watercolour is made for dust and mud!
From my high vantage point at the Oliphantsrus waterhole in the western side of Etosha, the elephant herd appeared from nowhere, almost silent, pacing quickly, kicking up the white dust and veiling the latecomers - all I could see beyond the frontrunners were familiar shapes, growing in size as they approached - the shapes intoxicating, so beautiful and het so odd.
Elephant colouring in Etosha tends to cold blues and violet with burnt sienna glowing in the shadows and yellow ochre in the lights, so these were the colours I chose for the dusty painting.
Close up, nudging through the mud, I wanted a brighter, bolder approach so I ladled masses of cerulean into my palette.
The wildebeest in the the Kalahari, also coming to water, are fanning out from their single file approach as they near their goal.
When the dust is raised, and is backlit, the dust-laden area looks white in colour and is significantly lighter than the surrounding background.
To create the gradual by stark exchange in tone I always wet the area way beyond where I want the dust to rise, so that the colour spreads into the damp paper without creating an edge or seam around the dust.
Heavier paper is therefore preferable to prevent buckling but even using Sanders Waterford 300lb my paper still buckled because I forgot I was in the cool of the studio and not actually in the heat of the African bush and used as much water in the painting as the wildebeest and elephants were about to drink!"
*. *. *. *. *
"I remember with affection the excitement I felt at the beginning of this new decade. I particularly like the rhyming symmetry of the number '2020' before the pandemic clipped our wings and gave th number a less poetic resonance.
I do love words, nearly as much as brushstrokes, so it was fun to have an excuse to use the attractively balanced number in a title.
I completed a three-part series for THE ARTIST MAGAZINE called "2020 Vision" - how we see as an artist and honing our artistic eye - published in the May, June and July issues.
The third and final part of this series discusses the theory, yet highly significant question so often asked: "How do you know when a painting is finished?" and offers several practical methods to help you assess your own work, all of which I use continuously.
The Artist Magazine is available in stores and online.
https://pocketmags.com/the-artist-magazine
Here is a flurry of feathers to encourage you to open your artistic wings wide at a time when no one can fly!"
Members of the FHAS may be pleased to learn that Hazel has another book coming out on www.amazon.co.uk in the beginning of July.
If you'd like to go directly to her book on Amazon, here is the link:
https://www.amazon.co.uk/Learn-Watercolour-Landscapes-Quickly/dp/1849945934/ref=sr_1_1?dchild=1&keywords=learn+watercolour+landscape+quickly&qid=1591909812&sr=8-1
In an unusual move, it was published by www.amazon.co.uk digitally before the hard cover version and for less than £5. This blogger bought a copy and is delighted
As always, Hazel explains the themes succinctly and in an interesting fashion with apt paintings to illustrate her text.
In an effort to improve style, and without the benefit of a live tutorial, I have read a couple of the chapters and then tried to copy what Hazel has done. It was with varying success but that is not important. It's the observation, analysis and the doing that is important. Why not try it for yourself. Her marvellous collection of books are there to teach and help us.
Lastly, you can follow Hazel on Instagram and on Facebook. Hazel is very good about posting on these media. You can follow her on the sites below:
"This week in lockdown I couldn't resist returning to the African bush (virtually) and indulged in painting the dust and mud of Etosha and the Kalahari.
In my view dust and mud are made for watercolour, and watercolour is made for dust and mud!
From my high vantage point at the Oliphantsrus waterhole in the western side of Etosha, the elephant herd appeared from nowhere, almost silent, pacing quickly, kicking up the white dust and veiling the latecomers - all I could see beyond the frontrunners were familiar shapes, growing in size as they approached - the shapes intoxicating, so beautiful and het so odd.
Elephant colouring in Etosha tends to cold blues and violet with burnt sienna glowing in the shadows and yellow ochre in the lights, so these were the colours I chose for the dusty painting.
Close up, nudging through the mud, I wanted a brighter, bolder approach so I ladled masses of cerulean into my palette.
The wildebeest in the the Kalahari, also coming to water, are fanning out from their single file approach as they near their goal.
When the dust is raised, and is backlit, the dust-laden area looks white in colour and is significantly lighter than the surrounding background.
To create the gradual by stark exchange in tone I always wet the area way beyond where I want the dust to rise, so that the colour spreads into the damp paper without creating an edge or seam around the dust.
Heavier paper is therefore preferable to prevent buckling but even using Sanders Waterford 300lb my paper still buckled because I forgot I was in the cool of the studio and not actually in the heat of the African bush and used as much water in the painting as the wildebeest and elephants were about to drink!"
*. *. *. *. *
"I remember with affection the excitement I felt at the beginning of this new decade. I particularly like the rhyming symmetry of the number '2020' before the pandemic clipped our wings and gave th number a less poetic resonance.
I do love words, nearly as much as brushstrokes, so it was fun to have an excuse to use the attractively balanced number in a title.
I completed a three-part series for THE ARTIST MAGAZINE called "2020 Vision" - how we see as an artist and honing our artistic eye - published in the May, June and July issues.
The third and final part of this series discusses the theory, yet highly significant question so often asked: "How do you know when a painting is finished?" and offers several practical methods to help you assess your own work, all of which I use continuously.
The Artist Magazine is available in stores and online.
https://pocketmags.com/the-artist-magazine
Here is a flurry of feathers to encourage you to open your artistic wings wide at a time when no one can fly!"
Members of the FHAS may be pleased to learn that Hazel has another book coming out on www.amazon.co.uk in the beginning of July.
If you'd like to go directly to her book on Amazon, here is the link:
https://www.amazon.co.uk/Learn-Watercolour-Landscapes-Quickly/dp/1849945934/ref=sr_1_1?dchild=1&keywords=learn+watercolour+landscape+quickly&qid=1591909812&sr=8-1
In an unusual move, it was published by www.amazon.co.uk digitally before the hard cover version and for less than £5. This blogger bought a copy and is delighted
As always, Hazel explains the themes succinctly and in an interesting fashion with apt paintings to illustrate her text.
In an effort to improve style, and without the benefit of a live tutorial, I have read a couple of the chapters and then tried to copy what Hazel has done. It was with varying success but that is not important. It's the observation, analysis and the doing that is important. Why not try it for yourself. Her marvellous collection of books are there to teach and help us.
Lastly, you can follow Hazel on Instagram and on Facebook. Hazel is very good about posting on these media. You can follow her on the sites below:
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