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This was my fifth Charles Reid workshop, set in the picturesque small Cotswold town of Stow - in - the Wold. Actually I wasn't over impressed with the town, as there were quite a few empty shops and in the Baptist Hall, where the workshop was held, spotted a professionally made sign advertising a `Food Bank', which apparently is held in the hall on certain dates. I have been to Stow before as I lived in Oxfordshire for many years but this was the first time I'd been there for an extended look. This workshop was different as it was not residential, Jane supplying a list of local hotels, B & Bs etc. Charles, Judy and Jane stayed at the Grapevine and so did 6 other students, the remaining 11 spread around the town.. My sister lives only 30 minutes away at Ducklington so I stayed with her and commuted daily. You do lose something by not all being together and that made a difference. Unfortunately having to book well in advance for a large group, and prohibitive insurance costs, now that Charles is a senior citizen, means that if he comes again in 2015 the same situation will prevail. Prior to Monday commencement, on Sunday a dinner was held at the Grapevine Hotel and Restaurant on the high street, a short distance from the Baptist Church. There were 18 students on the course with Jane Duke, the organizer and herself a professional artist, on hand to organize things with Judy Reid. On this workshop two thirds were first timers, which is unusual in my experience, except perhaps in Spain. Actually I've since been corrected, 10 of 18 were new, not quite two thirds. My wife and some other non-painting partners went to the dinner. DAY ONE Pt 1 Monday started with Charles demonstrating using an old black and white photograph for reference. This has become a feature of his workshops in recent years. Getting ready to start. See the reference photo or rather part of it because it included a woman on the covered right hand side. Fabriano paper. Charles started with his modified contour drawing using a continuous line and not lifting the pencil much. As you can see he divided his paper into two sections and did a second drawing in the right hand bloc, which is the one he painted. You may notice this is less detailed as it was the one intended to paint. Charles went into considerable detail for the benefit of the many `newbies'. These are most of the points he made: * When painting a person make sure they fill two thirds of the area. *Backgrounds are the hardest part of a painting. *When drawing keep hand on paper, most action will be with the elbow. *Draw light outline first then erase. *Work from the centre of the face starting with the eye or nose. *If you can't see something don't draw it. *Forget about perfection. * Take measurements using the pencil held vertically. * If in doubt make figure longer not shorter. *Keep measuring and comparing. *Don't draw long general lines - show the bumps. *Keep the pencil on the paper - short trips slow, long trips speed up. Charles used his small Sketchers box and is shown explaining to the eager throng what his 16 colours were and how they were grouped in the box. He started in the nose/eye area and you can also see some preliminary swatches at the bottom. Colours were his usual Cadmium Red, Cadmium Yellow, Raw Sienna or Yellow Ochre plus Cerulean and Cobalt Blue. Burnt Umber and Raw Umber may also have featured but I'm not certain. Here he has more or less completed the features and then down into the beard. Charles stresses placing paint rather than stroking and emphasizes the ratio of paint to water. Too many students have too much water and not enough pigment. When he paints he dips his brush in the water pot, then gives it two sharp shakes, and sometimes lightly wipes it on the small towel attached to his apron. He then goes to the paint which should be moist enough for the brush to dig into. He keeps the paint moist using a small spray bottle. Often he will then go straight to the paper without any mixing on the palette. Here again he made various points: *Mix on the paper as well as the palette. *Look for indications of lights and darks. *Make very deliberate strokes. *Soften paint edges using an almost dry brush. *Have a 50/50 ratio of hard and soft edges. Not much left to do. The finished work - actually he just decides at some point to stop rather than finish! On this workshop he was using a mixture of mainly Da Vinci Maestro 35 series and Escoda 1212 and 1214, the 1214s being retractable travel brushes. He thinks Escoda are similar quality to Da Vinci but they are generally two sizes smaller in other words an Escoda 10 is about the size of a Da Vinci 8. DAY ONE Pt 2 As the weather was quite good, with uncertainty about the remainder of the week Charles decided to paint outside in the afternoon. Students could either watch him or paint themselves. It wasn't a demonstration as such. He selected a small patch of grass with some trees and seats, just down the high street on the opposite side. He began on the left hand side by drawing the Royal Hotel (built AD947) and worked his way across the paper until he reached the edge using his contour technique. He didn't attempt to make a frame. He painted from the left hand side in a similar manner. Actually previously he has always said when outdoors draw a little then paint, draw some more then paint and so on. This time he continued until the painting was finished although he took his usual breaks, about every 20 minutes or so when he often smoked his briar pipe. As for his palette Cobalt Violet seems to now be a permanent resident and he also mentioned Cobalt Green Dark, which he said was a temporary colour he'd recently added. He does tend to experiment with one or two new colours each time I've seen him. I asked him why he had gone against his normal advice of drawing and painting in stages, the reply being `he just felt like it'! The photos of him painting are not terribly good. One major problem was that the sun was behind him and it was also slightly windy. As a result the shadows kept moving across the paper and attempts to photograph the various stages were ruined, as the camera autofocus was fooled and no one was able to produce viable photos. Those at the end were made by turning his easel around the other way out of the shadows. By then he had finished! I noticed that the painting was done like an inverted `V' with the bottom corners mostly blank. I didn't paint at all on this day but contented myself with further study of how he does things. I think that's it for day one.

Imparte cursos en EPC Cataluña. Con varios libros y vídeos en el mercado, didácticos e ilustrativos, en donde muestra como moldear figuras y rostros.

Friday, the final day of the workshop dawned with much better weather, although as we were indoors this didn't matter. The subject today was the much anticipated portrait/figure session and the model was Jane, who I had first seen modelling for Charles in 2007, on my very first workshop at Burford. I gather she has also done so subsequently. I have a photograph of the painting Charles did on that occasion, which is one of my favourites, now owned by our organizer Jane Duke. You will note it was combined with flowers and other objects, quite a different approach from today's painting. Jane at Burford in 2007 Jane at Stow in 2013 Charles began with a faint outline creating a silhouette. He then made the head smaller and drew the hands which he does very carefully, where things intersect. Charles took regular breaks as much for Jane's benefit as his own. These are about every 15 to 20 minutes. Charles is very solicitous for the models well-being constantly asking if she is all right, and to some amusement initially kept mixing her name up and calling her Mary. With the face start with the eye and check position, using these as a starting point for the nose, mouth and chin. Check the corner of the eye with the face, the other side with the hairline. The next key problem is the length of nose which students often get wrong. Don't make a hard line of the light side and stress the upper line of the nostril without making it into a black hole. Use mouth for the distance to the hair. At bottom of chin go to the neck making the chin line faint and subtle. Keep losing lines by erasing. Note this is an accurate but not detailed drawing- quite loose in fact.. The initial loose washes. Plenty of paint and water using an Escoda 1212 Kolinsky sable size 14. This is larger than any I have and I was able to examine it between breaks. It is a lovely brush and I'm sorely tempted to invest in one (I just have). In general the equivalent Da Vinci Maestro Series 10 is roughly two sizes larger, but comparing the diameter of the No.14 brush heads is only fractionally wider, while costing 50% more. I don't have a length comparison but I doubt there is a lot in it. The painting has now dried before Charles moves to the next step. Started detail changing to the Da Vinci Maestro 35 size 6, I think the number is different in North America, which is longer and slimmer (and more expensive) than the Series 10. Charles stressed that you shouldn't do the eye as a solid block but in pieces, placing paint. He adds green and Raw Umber, Cadmium Red at corners, over the top Cerulean and a little red, but not on the upper lid. He works wet in wet with up and down strokes then the eyebrows.. Don't overstress under the eye. Don't stroke - press the brush, Soften edges as you go. Edge control is really important. He restates quite a lot. Next the nose painted with Cadmium Red and Raw Sienna. No blue in the nostril just a dot. Under the nose and indicates mouth with light wash. First step the centreline - don't make too dark! Constantly softens and corrects. The mouth is completed then the lips and chin. Stay away from sides -stay in centre. Starts on chin, softens adding red and brushes away from it. Don't leave a pronounced chin line. A start on the hair and hat. Note they are painted as one shape and not separated. Don't fill out the hair leaving an escape route. Use the same colours under the hat brim and paint out into the hair. Colours mentioned here Ivory Black and Burnt Umber. Further work to define the hat. Charles used a minimum of strokes (5) for the hair/hat and said more screws it up! Small final touches as he reviewed painting. Some white gouache was added at the end, although looking at the painting it isn't obvious where. He always says don't spend too much time on the hair, although in this instance the hat and hair are combined as one large shape.. The sequence above shows the final result. This was a fascinating session and you could hear a pin drop most of the time, although Charles constantly explains what he is doing and why. We then broke for lunch and unfortunately as it was Friday and nearing the end four of the students departed, as they had long journeys and connections to make. This meant only thirteen remained for the afternoon session. As the weather was somewhat better I went down to a fish and chip shop I'd noticed called Greedys and bought some for my lunch. They were excellent and I enjoyed them sitting on a seat at the area where Charles first painted outdoors. I realise these notes are a little rough but it isn't easy to write down or remember everything. I hope nevertheless that they convey the gist and flavour of the demonstration. When we reconvened at 1.30.pm the students sorted themselves out position wise and began to draw and paint the model. As it was my turn on the front row this carried over to the painting session and I was able to position myself closer to Jane and also only slightly to the side. I think this gave me a considerable advantage over some of the others. I shall cover my efforts, and explain why I wasn't able to photograph other student paintings, in a final post in the next two days. For those who are interested in Portraits the Charles Reid way I recommend the DVD `Figurative Watercolours' (APV Films 2012). Portraits feature in many of his books but the ones that stick in my mind are his final book `Watercolour Solutions' and `The Natural Way to Paint'. Both can be obtained from Amazon and some other booksellers.

Watercolor master Charles Reid passed away on June 1. Today we celebrate his life and his creative legacy.

Our third demonstration was the perennially popular still life session where Charles puts together a selection of artefacts, fruit and flowers to make an arresting image. The Set Up Charles regularly states that he likes a haphazard arrangement reflecting the way objects are left rather than the more formal arrangements liked by some still life painters. For him the arrangement should have lots of connections between the various artefacts. As usual the drawing is done in the contour style, pencil remaining on the paper. The first thing drawn was the vase and all the other elements were drawn in relation to it. There was very little detail in the blooms. The Drawing The first strokes of paint were foliage, placed in such a way that they created a series of negative shapes, particularly around the white blooms. The foliage colour was largely mixed on the paper and the different pigments can be seen in the photograph. The First Strokes The next photograph shows a detail where you can see the range of pigment used in rendering foliage and blooms. Detail In moving around the painting Charles makes sure that he paints connections and often has pigments running into each other as he does so. Moving Around As he moves around and begins new passages he ensures that he keeps his brush on the paper till requiring more pigment. The same routine with the brush is followed each time. The brush is loaded with water, excess is shaken off then the brush is put into the pigment which is kept at a moist consistency before being applied to the paper. He then ensures that the contact with the paper is made with the whole of the brush and not just the point. Brush longevity is a consideration when using expensive sable implements. The background of the painting is hinted at with a few splashes, warm and cool, to provide a little texture. Splashes are a regular technique used by Charles who is likely to add a few whenever he thinks that he is tightening up. Another great demonstration. Still Life - Charles Reid, watercolour on half sheet

In der Mitte der Garten Einfamilienhaus Angerhofer, Ried im Innkreis Ein überschaubares innerstädtisches Grundstück inmitten alter Villen. Zur..

I wonder what took me so long to find Charles Reid’s watercolor paintings. His color combinations and fluid brushstrokes are superb, mesmerizing. I could easily lose hours of the day just looking at his art. It is really special, and it reminds me of why I started Scene 360 many years ago: to feature outstanding...

Charles Reid has long been considered a master of the medium of watercolor. His paintings are fresh and spontaneous, displaying his profound understanding of light and color and expert drawing ability