21. My style really began to develop when I was an art student. It improved through my desire to become a better watercolourist. More than ever, I am always seeking to improve my skills and to become the artist I’m meant to be.
22. I find that I’ve learned to know when to stop. Too many watercolours can be ruined by overworking them. I’d rather leave the painting looking slightly unfinished (it never does!) than overdo it.
23. The elements are the biggest problem. Changing weather conditions, especially the arrival of rain when the scene started off bright and sunny is a problem. I actually enjoy painting the rain from start to finish if I’m properly prepared. The painting above of Florence was inspired by a watercolour painted on location in the rain. My wife had to stand in the cold holding an umbrella over me!
24. If a watercolour goes badly wrong at the very start, then I’ll scrap it. If a small mistake occurs, then I can usually correct it by lifting out the offending area and re-painting it.
25. There are various techniques one can use to draw out a composition in the studio such as grids, sight-size, tracing etc. I’ve used many of them from time to time. However, I’m finding that over the last few years I’m doing more and more “drawing” with the paint brush. Indeed, with my location painting, I rarely use a pencil and prefer to paint directly onto the watercolour paper. The “Sight Size” method is is more a philosophy of seeing which I use when painting portraits.
26. At art college I had a brilliant lecturer called Laurie Stangroom who used to do artist’s impressions of buildings from architects plans. He taught me how to project the plans into any perspective you wanted through understanding picture planes, eye levels and vanishing points. It’s been a tremendous foundation for my watercolour paintings of cities. I like John Singer Sargent’s belief that painting is a science which is necessary to acquire in order to make of it an art.
27. I always start my watercolour work with large washes of colour to take away the white of the paper and to set the mood for the rest of the painting. It’s only when these washes are dry that I will begin to work on the main elements of the subject. I always work from light to dark in watercolour. If it’s a portrait or figure, I will work on a neutral tinted canvas (a mix of white, raw umber and black) rather than pure white. I like to make sure that the proportions are correct before commencing on any colour work. It’s usually best to get the mid tones in first before doing the darks and highlights.
28. I’m currently working towards my next exhibition at my Studio & Gallery at our home in Ponteland, Northumberland and a number of commissions. My wife and I are always seeking to improve our website www.alanreed.com to make it more interesting and informative, not just for online sales but as a resource for artists. We’ve already made a couple of painting videos and plan to do more in the future. The Artist in me is always wanting to move forward.