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Kim Page Watercolour Demonstration
2 March 2007

Webmaster's note: No camera stand. Blurry photo's. Sorry (but you should get the idea).
Whilst we were arranging the chairs Kim was setting up his still life and making a light pencil outline drawing onto unstretched NOT paper held to the board with clips.
He uses a very limited palette, mostly applied with a No.10, 12 or 14 sable brush. "Know your brush". He's not a believer in multiple glazes, preferring to get as near as possible to the final effect with the first wash (although you may get forced to use them for some of the later petal effects).

He advises:
- thorough preparation. "Know exactly what you want before you start to paint".
- avoiding working from photo's, if possible. "Sit inside the car to paint if the weather is bad".
- paint what the eye sees, not what your brain tells you. "If it looks a jumble, paint a jumble". "Don't go abstract until you feel comfortable with it"
Building up "Decide what is the most important part of the picture and start there". "Paint how you feel is right". "Take risks"

Since he was not intending to overglaze, he applied paint without too much water. Many deliberate strokes, including tiny dabs, gradually developed each area, wet into wet, observing the lines of the drawing where objects overlapped. The power of white paper cannot be faked with an applied white.
He mixes all his own greens, mostly with varying proportions of Burnt Umber and Prussian or Winsor Blue. "Flowers are good subjects to help men develop their (inferior) colour-awareness".

The dark background and sandy table surface highlight the pot and sit the arrangement solidly (important to vary the colours of such areas) - but note how careful he was not to lose the little areas of white paper.
More detail
Ready for final "polishing"  Flower centres need close attention - like the eyes in a portrait.

Finally came a fairly long process of adding darks with the tip of the brush: negative shapes; sculpting the petals; shadows (cobalt and light red, perhaps a touch of ultramarine in the background); adding the small bowl etc.
End of demonstration

End of demonstration

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