Title : Painting With Speed and Light: Versatile Indigo
link : Painting With Speed and Light: Versatile Indigo
Painting With Speed and Light: Versatile Indigo
[By Róisín Curé in Galway] I've long admired the work of Miguel Herranz and Inma Serrano, and I was thrilled when they accepted my invitation to present a sketching workshop in my home town. And so, last week I was honoured to welcome them and students from across Europe to Galway. In true North Atlantic style, the sun split the stones on the day everyone arrived, only to become shy and hide until the day they all went their separate ways. After that it got really hot and sunny, but that's the Atlantic coast for you.I wanted to demonstrate how simple and powerful a tool one blue-grey colour (indigo or Payne's grey) can be when used to advantage. If you don't have much time but really want to produce something dramatic, understanding values to convey light and shade is a great tool in your kit.
You never know what level your students are at when you teach, and so I aim to assume nothing and hope that those who have already explored that particular topic won't be bored. One of my fellow instructors was in my group - we each had two sessions free - so I was especially conscious of preaching to the converted.
However, if I was going to preach, I was in the right place. I chose to bring the group into St. Nicholas's Church in Galway City; it's a medieval church, full of stone pillars, stone carvings and plaques and a very ancient stone baptismal font. Such a monochromatic interior was the ideal venue to put the subtle use of values to the test.
I started with explaining that one colour can be used with varying degrees of intensity. The students draw six to eight rectangles on watercolour paper. Pen or pencil, it doesn't matter, as long as the ink is waterproof.
The first shape is left unpainted. The second and remaining shapes have one light layer of paint applied, evenly and not too wet. When this first layer is dry, the third and remaining shapes have a second layer applied, and so on:
The last rectangle has black ink, just to show that if the situation really, really requires jet black (it has to be critical!) then you can use it.
There isn't much difference between some of the shapes but you get the idea. Some of the comments showed me that this was a useful exercise, and that I was right not to overestimate the level of experience in the group.
"I never knew so many colours could be made from just one!"
"Do you let the layers dry in between?" [Yes. Otherwise you won't build up the depth, or worse, lift the layer underneath.]
"I'm making my first layer too dark."
"I've never used indigo, it's perfect for shadows."
Then the group went to various parts of the church to put their knowledge into practice. I warned them to only use unpainted white paper for bits that were in strong sunlight. Here are some of the things they painted, which had no colour, and which required the subtle use of values:
A large stone celtic crucifix (headstone)
The ancient baptismal font, which was very ornate
Some filigree stonework
Pillars
Arches
I was very happy with the students' pride in the results they produced. One or two of them were surprised and delighted, which is the best feeling for a teacher.
For my own demo I painted an appliqué banner which hung in the Church. Although it had many colours, I wanted show how they could be translated into "black and white" - that is, indigo and white.
I put zero layers (white) for the white bits: one layer for the yellow: two for green, three for blue, four for red and five for black. I didn't use black ink at all. These assignations are a bit arbitrary but I emphasise that it was for demonstration purposes.
So far, so academic. But what's the use of all of this? There are two main uses. One is that you can convey light and shade very effectively with one colour. The second is speed. There's no colour change, so you won't be cleaning your brush very much. And of course the fact that there are fewer colours means you'll get finished more quickly. Sometimes that's very important...
My husband had a birthday two days ago. Between teaching, entertaining family and baking, I didn't have time to paint him a card. I didn't feel right about it so I took advantage of my trip into town yesterday to see Miguel and Inma on their way, and spent half an hour at Galway Marina. It would have been two hours, but the change pocket in my car had been raided the day before, and I didn't have change for parking. After scrabbling around on the floor of my car in front of a funeral party for fifteen minutes I found the precious ten cents that would bring my total to €1.50, enough for an hour. I had a couple of tasks to do and by the time I sat down, it was about 10.45. I had to be gone by 11.15 as the clampers are very enthusiastic in that car park, so I had to work fast. For once the weather cooperated: I was beautifully warm and my paper didn't blow away.
My husband and I have recently bought an 80-year-old boat. We're all very excited, despite the saying that if you want to know how it feels to own a yacht, just stand under a cold shower and rip up fifty-euro notes. So I wanted to paint a nautical theme. Voilà! Thanks to some speedy sketching (with a Sailor pen until it clogged, followed by a Noodlers Acrylic) and the use of indigo, I managed to paint a card that I knew he'd like.
If indigo or Payne's grey aren't already part of your repertoire, give them a try!
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