Capon Robin - David Curtis Light and Mood in Watercolour

David Curtis
Light and Mood
in Watercolour

Corfu Old Town

57 39cm (22 15in)

David Curtis

with Robin Capon

To my family, friends and painting companions

I would like to thank Robin Capon for all his patient hard work on the text. It has been a pleasure to collaborate with him. My thanks also to Steve Bennington for his skill and understanding of the painters needs in terms of good colour photography; Dr Sally Bulgin for the foreword; and Richard Hagen for the loan of transparencies.

www.djcurtis.co.uk

I was delighted and honoured to be asked to contribute a foreword to David Curtiss new book on Light and Mood in Watercolour, because I have been an admirer of the man and his painting since first meeting and interviewing him for the chapter on his work in my Oils Masterclass (HarperCollins) in 1995. Since then he has contributed articles to the magazines Leisure Painter and The Artist, illuminating his approach to painting and generously sharing his thoughts and providing advice and inspiration to many thousands of painters throughout the world. He is an inspiration not only because of his ability to capture the spirit of a place with its transient light effects and different weather conditions, but also for his enthusiasm and his willingness to share his experiences in the straightforward, down-to-earth way that is characteristic of his Yorkshire upbringing.

David has the eye and the skill to extract the magic from a subject by plucking out the essentials he needs in the few hours he has in front of a scene. As a committed plein-air painter he edits detail, simplifies the complex and vital elements of a composition, and demonstrates that what matters in painting is as much about what you leave out as what you include.

He has accomplished a great deal and is now recognized as one of Britains leading figurative painters in oil and watercolour. The reproductions of his watercolours throughout this book will be an inspiration, and the no-nonsense text will inform and explain in illuminating detail the thinking processes and working methods behind these stunning paintings.

Sally Bulgin

Publishing Editor of The Artist and Publisher of Leisure Painter

Seldom does a day go by when I do not have the desire to paint. My love of painting began when I was about twelve, and from then on I have never doubted that the greatest satisfaction I could achieve in life would be from using it to express the delight and inspiration I find in many different kinds of subject matter, especially landscape and marine scenes.

I did not go to art school in fact, I trained in engineering and design. But this taught me the value of drawing skills, which is something I probably would not have experienced at art school at that time. So, in effect, I am a self-taught painter, although naturally I have been inspired and influenced by the work of other artists. In my case the influences have come principally from the British Impressionist painters of the late 19th and early 20th centuries notably those of the Staithes School, such as Laura Knight, Mark Senior and Fred Jackson, and the Newlyn School, especially Stanhope Forbes and S J Lamorna Birch. Incidentally, I also much admire the music of the British composers of that period, because their work was very descriptive and for me it evokes a similar atmosphere and response.

Painters need lots of self-belief and perseverance. If there is one piece of advice that I would offer inexperienced painters, it is that they must be prepared to work hard to learn their craft. In my view, there is no substitute for developing observation skills and the ability to draw, nor for appreciating the value of sound composition and the need to understand and respect the chosen painting medium. In learning to paint you will glean information, advice and ideas from a variety of sources, gradually discovering and developing your own style. It is important to be true to yourself as well as the medium, rather than simply cloning someone elses method of painting. But be patient; it does take time!

David Curtis in his studio

David Curtis painting outdoors

A Shortcut to the Beach, Cala San Vincenti, Mallorca

57 39cm (22 15in)

I was particularly attracted to the way that the palms created a contrasting, umbrella effect above the focus of light in the centre of this subject, which I found away from the main tourist area.

Many artists enjoy sharing their knowledge with others, and one of the best ways to learn about painting is to work alongside an experienced artist. When I was young I often painted with an accomplished local artist, Andy Espin-Hempsall, who worked in the traditional manner known as plein air (open air that is, outdoors, in front of the subject being painted). Later, I was fortunate enough to paint with Edward Wesson, Jack Merriott and other well-known artists of the time. In this book, as well as discussing in some detail my working methods and observations on watercolour painting, I have tried to create a sense of the process for the reader by including several step-by-step examples. I hope these will help demonstrate more clearly the way that I work when tackling different subjects, and in different situations.

I paint in both oils and watercolour. Essentially I am a plein-air painter and for me there is nothing more exhilarating than the challenge of capturing the special mood of a scene before its character is radically altered by the changing light or weather. Watercolour is a wonderful medium to use. It is perfect for exploiting the transitory and subtle atmospheric effects found in outdoor scenes; moreover, it encourages the necessary spontaneous, sensitive approach. Yet, if required, it also suits a more considered, controlled method of working in the studio, while for certain subjects a combination of both plein air and studio techniques will often work best.

A knowledge and experience of a variety of watercolour techniques is always an advantage. Painting is never simply a matter of following a set procedure. Each painting requires something different to fully express the particular quality of light and mood that initially inspired you. The way to gain experience is to experiment with every aspect materials, techniques, colour and composition, subject matter, and so on. This is how I developed my skills, and why I have included such a wide range of topics in this book. I hope the information and illustrations that accompany these topics will prove helpful and encouraging in your adventures with watercolour. It is an endless, fascinating process!