"Pisa Range"
Oil on board
495mm x 295mm
19½" x 11½"
© Susan Harrison-Tustain

The first light fall of Autumn snow dusts the peaks of the Pisa mountain range. Snow clouds begin to envelope the pinnacles bringing with it, the excitement of the change of season.  We call this place “Central” (Central Otago, New Zealand) - austere, raw, beautiful, haunting, vast skies above rugged ranges. Captivating, compelling and beckoning.

The oil painting technique I used for this painting began with an underglaze of a grey/purple. Once dry, I then used the block-in oil painting method of creating the basic 'local' color of each area. I used these colors as the basic mix to establish the different areas in the painting: variations of greys with tints of purple for the clouds, dark grey/greens for the foreground, pale purple/greys for the light areas of the mountains and of course blue for the sky - all helped me establish the basic painting layers. I left my underpainting to show through in some areas - especially in the mid toned mountain peaks.

The next step is to observe the changing colors within each section, mix those colors and apply the detail - keeping it true to nature. Each area has a myriad of hues that describe this light snow fall, the forms - with sharp as well as rolling edges and shapes.  There are many painting lessons within each of these subjects. Too many to write here of course. For those of you who are artists and would love to learn how to paint skies, clouds, mountains, falling snow  - I hope to release an oil painting DVD in 2012 that will cover all these things and so much more.

I also plan to release a new watercolor DVD. This one will focus on mini studies of many subjects: capturing numerous subjects. If you are not currently on my mailing list - do join up.

My newsletters are infrequent but they are full of valuable information, painting breakthroughs and discoveries, news on exhibitions, new DVDs, workshops, European tours (next one will be in 2013), newspaper, magazine, TV and radio appearances etc etc.

In my Art Lessons section you will find helpful articles.

If you want to learn more about Watercolor Painting and Watercolor Technique check out my Watercolor DVDs.

Happy Painting!
Susan

'South Island Tomtit' Watercolor on 300 gsm Arches Hot Pressed paper size: 16" x 10", 410 mm x 255 mm © Susan Harrison-Tustain		'Stewart Island Robin' Watercolor on 300 gsm Arches Hot Pressed paper size: 12" x 7 1/2", 300 mm x 190 mm © Susan Harrison-Tustain

Stewart Island, New Zealand has a well deserved pristine, clean, green reputation. Stunningly beautiful this land feels almost prehistoric and it is not hard to imagine this is what most of New Zealand must have been like before man arrived. Almost predator-free this place has a mystical atmosphere. The bird song and wild-life as well as the native forest, Manuka scrub and wilderness is awe inspiring. An artist's mecca. It is here that I studied many of our native species including the South Island Tomtit and the Stewart Island Robin that will feature in my 2011 Recollection exhibition.

The South Island Tomtit flittered from branch to branch in a native forest area that was covered by a dense canopy of tree tops - shading the undergrowth from sunlight. A stream trickled beside the track and the almost luminous green moss covered everything in sight. Quite beautiful and almost surreal - this place was a heaven for bird-life.

Preview of the framed paintings:

We were also befriended by a gregarious Stewart Island Robin. He was our 'shadow' for about one kilometre of our tramping day. When we stopped - he stopped. He would sit nearby as I sketched - daring to draw closer and closer. My shoe lace was his ultimate target and as he tugged at it and then darted back into his perceived 'safe zone' - I was able to make quick sketches and notes for the study you see here.

My painting technique for feathers begins with underwashes of local color. I then use a dry- brush watercolor method. This is ideal for capturing the texture of feathers in watercolor. Layers of watercolor drybrush emulate the natural layering - and careful color selection and mixing help to create the feeling the viewer can reach into the painting and touch the feathers.

When painting bird studies I like to observe closely the pattern on the feathers, how they lay - one on top of the other as they protect and also repel rain. They way the texture of the feathers differs between the ruffled soft downy feathers in one area and the stronger more stiff feathers in another is always fun to observe and portray. I also note the amazing color patterns on each feather. The challenge is not to simply depict the bird - but it is to portray it's character within the paint layers. I hope you can feel something of the nature of each of these beautiful creatures.

Feel free to contact me via my contact form if you have any queries.

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Learn about my Watercolor Painting Technique in my Watercolor DVDs.

Learn about how to paint in my Free Art Lessons.

"Voyage de Vie"
watercolor painting
© Susan Harrison-Tustain

Techniques and methods generally mean the same thing. You can read about my watercolor techniques in my previous posts but I would also like to discuss how to use our brushes to give us different techniques.

Most artists stroke with their brushes. I most often paint into a clear water wash so I have found an incredible way of painting that is much better than stroking: Dabbing! I dab - I don't stroke! Yes it was a breakthrough for me too.

Try a little demo: In a clear water wash I would like you to take a fully laden brush (with water and paint). Now stroke your brush into the water. See how the majority of pigment is released at the end of the stroke. You have less pigment at the beginning of the stroke so your stroke gives you and uneven line.

Now I would like you to once again work into a clear water wash. Take your fully laden brush again and dab dab dab. Break the surface of the water wash each time. You do that by lifting your brush up and off the paper and out of the clear water wash. See how you can deposit so much more pigment with each dab. See how you can create a much richer and much more even wash by dabbing?

Isn't it magic!

Look at the painting at the top of this post that will show you the depths of hue you can get with this method:

The watercolor painting techniques I used for this painting are obvious because you can see the gentle transitions of hue. I have used a great deal of water to give the impression of serenity and peace and I have used light tones to give the feeling of innocence and gentleness. Watercolor painting methods and techniques can be adapted to paint any subject at all. Study my watercolor paintings in my gallery on my website and in the galleries on my DVDs. You will be amazed at the variety of subject matter you can portray with just five methods!

Have fun!

Susan

Learn how to paint skin tones in my watercolor portrait workshop DVD.
Learn more about my watercolor techniques.

"A Rich Picking"
watercolor painting
© Susan Harrison-Tustain

There are many watercolor painting techniques which will help you to create amazing effects. But I find I generally use just five:

1. My Priming Method
2. Wet in Wet
3. Wet on Dry
4. Drybrush
5. Blushing

You can learn about My Priming Method, Wet in Wet, Wet on Dry and Dry brush methods in my  DVDs as they are discussed and demonstrated throughout my watercolor DVDs. You can also read more information on these watercolor techniques here on my website, in the SusanArt Forum and in the free watercolor lessons here on my website.

With these watercolor techniques and methods you can paint anything and everything!

Take the time to learn about them and their many applications. You will be amazed at the skilful work you can achieve with just five fantastic methods!

Take a look at some of my early watercolor paintings that you may not have seen previously - I am about to post a series of early paintings in the next few posts. You will see what is possible: Remember these are early paintings - but because they are early it is easier for you to see the effects I have achieved.

Detail of "A Rich Picking"
© Susan Harrison-Tustain

Take a look at "Rich Pickings". I love this painting. Notice the methods I have used to create these realistic leaves? They have texture don't they? That is because I have used my priming method and then I used Wet in Wet and allowed the water to move the color for me. More about that in the next post.

Have fun exploring all the free lessons on my website. You will also find a watercolor techniques section in the menu on my website. Take a few minutes to look there too!

Susan

A series of notes on Susan's Watercolor palette.

Article 1: What Transparent pigments does Susan Harrison-Tustain use?

All of the pigments I use are used in fine washes so they could all be described as being
transparent. The Schmincke  pigment is very finely ground and it is dense in
the tube so we only need a tiny amount to color in our washes. Being extra finely ground -
these pigments are absorbed into the inner layers of the paper more easily than other brands I have tried - so they are perfect for my painting techniques.

Here is a list of the manufacturers comments regarding the transparency of the pigments I use:

1. 208 Aureolin Modern - semi transp
2. 220 Indian Yellow - Transp
3. 218 Translucent Orange - semi transp
4. 363 Scarlet Red - semi opaque
5. 357 Alizarin Crimson - semi transp
6. 351 Ruby Red - semi transp
7. 367 Purple Magenta - transp
8. 484 Phthalo blue - semi transp
9. 494 Ultramarine Finest - semi transp
10. 519 Phthalo Green - semi transp
11. 530 Sap Green - transp
12. 787 Paynes Grey Bluish - semi opaque

Watch this space for Article 2 - How to compensate for too much red in skin tone