Green Tin Shed, watercolour on Bockingford HP paper, 140lb (300gsm), (30.5x40.5cm)

Taken from the July 2022 issue of The Artist, Judith Yates shares top advice and a step-by-step demonstration for painting allotment scenes in watercolour and explains how seasonal inspiration from her local allotments has brought new qualities to her work.

During a visit to my local allotments, I realised immediately that they would provide a rich source of inspiration for my artwork. The allotment site sits discretely alongside the urban cityscape. This patchwork of small plots has provided sanctuary and purpose during these testing times. They are certainly cherished by their owners, turning barren patches of land into flourishing and highly productive plots. I’m an enthusiastic gardener and have always been inspired by nature but the allotments provided an alternative viewpoint, containing a host of qualities.

Allotment, watercolour on Bockingford HP 140lb (300gsm) watercolour block, (30.5x40.5cm)

I adore the variety of the allotment site, with each owner displaying a different and individual approach to their space that reflects their own personality. Although I admire the charm of the many regimented plots displaying rows of neat, organised lines of seedlings, I am particularly drawn to the overgrown sections, where nature seems to be winning the battle. Who couldn’t admire those quirky allotment sheds! The make-do-and-mend philosophy is evident, resulting in structures patched together with a variety of found and borrowed materials. Although often weathered and crumbling, I find these ramshackle structures beautifully imperfect.

Consequently, in every direction I spotted a perfect vignette: old makeshift sheds, quirky broken tables, slanting chairs beneath old apple trees and not forgetting the rich layer cake of vegetation capturing the multiple shades of green. The landscape is punctuated by linear uprights, bold structures and the occasional bright, functional, man-made object. Amongst the calm these small plots of land supply a bombardment of visual information.

Working on a series

Down the Allotment, watercolour on Bockingford HP 140lb (300gsm) watercolour block, (30.5x40.5cm)

One painting leads to another and before long my work has progressed into a series of artworks that enable me to explore different approaches to the subject matter. I investigate a variety of techniques and processes, making a note of ideas as they arise, to return to at a later date.

Initially, I take a collection of photographs that I use for reference material. For example, I record interesting textures, plant forms and structures, as well as more considered and constructed images to form a basis for compositions. I combine this work with several quick sketches that emphasise the marks and freshness of nature that I strive to retain in the finished artwork.

Throughout the seasons, allotments are packed with visual interest, from the bleaker months of winter to the reinvigorating months of summer.

I enjoy the full circle of nature, documenting the barren landscape as it waits for the growing season. I embrace the sparse landscape featuring the small sheds and greenhouses that provide a visual metaphor. As summer calls and the fruit and vegetables start to take pride of place, I can create artwork that emulates this process, adopting a looser and more atmospheric approach to my painting.

Aims and objections

It’s very easy to rush into a painting overwhelmed by the inspiration to paint. It is well worth taking a moment to consider your intentions for the work, to reflect on what drew your attention in the first instance. In my experience, when one of my artworks starts to go astray, it is because I have lost sight of my original intentions.

In the demonstration below I decided to focus on the contrast of the natural organic growth with the harder man-made structures, comparing the linear uprights, canes, raised beds and paraphernalia with the natural forms. I was also keen to emphasise the plant growth, drawing attention to the mass of natural organic forms, criss-crossing and battling for light. I therefore chose a low viewpoint amongst the undergrowth to force the viewer to peer through foreground foliage.

Watercolour techniques

I chose watercolour for this demonstration because it’s an ideal medium for creating loose organic shapes and soft atmospheric effects. Using a classic wet-on-wet technique for the form of the plants allowed the colours to flow and merge together to create the impression of dense foliage.

1. Lost and found

One of the strengths of watercolour is its ability to merge and form soft edges. The blending quality of the paint is perfect for creating ‘lost’ edges of natural forms, where the edge of the object disappears and merges into the surrounding tones until it fades to nothing.

Leaving certain areas indistinct enables the viewer to fill in the spaces.

2. Mark making

By applying a wide variety of marks within a painting, energy can be created within the work. With this in mind, I changed brushes and adjusted the speed of paint application throughout to keep the marks light, fresh and full of life.

To recreate the wilder, busy area of the painting where stems compete for attention, I incorporated a range of fast, light marks, using a loaded rigger brush held loosely at the tip for less control. This technique keeps the feel of the brushwork vigorous and lively.

As a contrast to the straight lines of canes amongst the raised beds, I painted a plethora of swooping natural stems and grasses. In addition, I created several splashes of light using a loaded, flat brush from a short distance, flicked at the surface to create a random splatter of seeds.

3. Applying paint

I used different techniques and ways of applying the paint to add variety. For example, by dropping methylated spirits onto areas of wet paint, small, intriguing areas of light were produced suggesting plant forms and patches of sunlight within the undergrowth. Also, by dipping fabric into the paint and dabbing this onto the surface another interesting texture can be formed, which can be enhanced with a wash of watercolour.

4. Masking fluid

Masking fluid is a standard technique with watercolour to produce bright white highlights with hard edges that stand out against the softer merging tones. I applied masking fluid to the surface of the paper to create a series of thin lines and splashes of white.

The masking fluid was removed after most of the painting was completed and the resulting white marks were painted over with a very thin transparent wash to produce soft pale tones. I supplemented these by applying splashes of white gouache to produce small bright highlights to enliven the darker patches of colour where appropriate.

6. Contrasts

For balance and as a contrast to the looser and more experimental techniques, I wanted to emphasise the grids, plastic objects and structures in the painting. To achieve this I applied harder edges, using a more saturated mix of pigment, incorporating strong lines in a more controlled manner.

I combined thin linear forms crossing structures and repetition of shapes set against curving natural forms to direct the viewer in and around the painting. As they attract the most attention, I used them around the focal detailed area of the work.

If a painting has a busy composition such as this one, it’s always a good idea to incorporate a change of pace, creating calm areas within the overall design. Consequently, I kept the background light and airy to give an illusion of perspective – a calm before the storm!

Ten top tips for allotment painting

1. Collect lots of reference photos, but don’t stick too closely to them!
2. Sketch areas of interest; the simplest sketch can spark ideas later.
3. Experiment with techniques to create unusual textures.
4. Use different brushes and tools to apply paint.
5. Using fast sketches, try out a few compositions to see which work best before starting.
6. Use different energy in the marks used. Slow deliberate marks alongside faster more vigorous marks add visual interest.
7. Try out techniques on a separate piece of paper, before applying to the finished piece.
8. Leave space within even the busiest image for the eye to rest.
9. Look for dramatic light effects or atmospheric weather conditions. They can make a painting.
10. Keep the colours clean. Don’t overwork watercolours until they become muddy.

Demonstration: The Allotment

The Allotment, watercolour on Bockingford HP paper, 140lb (300gsm), (30.5x40.5cm)

Stage one

I drew out the main elements of the composition very lightly using a 6B pencil, making sure to keep the shapes very simple.

Using a colourless masking fluid, I filled in all the areas that I wished to remain white. I keep aside a range of old brushes for this purpose.

Once the masking fluid was dry, I was able to apply a very wet, loose application of colour over the large areas, with no fear of losing the highlights and smaller details.

Stage two

I flooded both sides of the painting with water, then, using plenty of pigment on a size 6 mop brush, I applied rich, deep tones of Hooker’s green, sap green, cadmium yellow, manganese blue with a touch of burnt sienna. I allowed the colours to flood and merge together.

Around the edges I created a few definite brushmarks to suggest leaf forms. These break into the main part of the image and help to merge the looser applications with the tighter marks planned for later.

Whilst the paint was still wet, I applied drops of methylated spirits using a small brush, to create suggestions of light and flower forms in the undergrowth.

Stage three

In order to create the illusion of depth, I created a variety of simple marks in the distance, using flat and round brushes to apply a watery mix of sap green, mixed with small amounts of purple and ultramarine blue.

For the tree branches surrounding the shed, I loaded a small, size 0 rigger brush with wet mixes of ultramarine blue and sepia, holding the brush loosely between my thumb and forefinger to produce flicks of loose organic lines.

To create a different mark, I applied small textured leaf shapes beneath the plant protector. These were formed by using the corner of a cloth, screwed up tightly and dipped into the paint.

Stage four

I removed the masking fluid and continued adding more detail, before beginning to paint the shed.

To suggest the various worn surfaces, lichen and general wear and tear, I flooded each area with a variety of tones before using a few drops of methylated spirits in certain sections to create the desired effect. I then lifted the surface of the paint in specific patches using an old rag.

Stage five

I continued to add more detail, making sure to leave a selection of the remaining whites for highlights. Several of these were painted with very soft tones of ochres and greens. I used loose, broken marks in a mix of cobalt blue and ultramarine for the brighter man-made structures, then flooded large areas of the sketch with a thin mix of yellow ochre and cadmium yellow to produce a warm sunlit glow over the entire scene. The allium buds were painted in more detail to bring them into the foreground. This idea was reinforced by creating a strong shadow to produce a three-dimensional effect that elevates the buds from the surrounding marks.

Stage six

The Allotment, watercolour on Bockingford HP paper, 140lb (300gsm), (30.5x40.5cm)

Finally, I painted the distant sheds in a very simple fashion using pale tones – applying the paint then dabbing it with a cloth to lift key areas before they dried to create a slightly broken texture.

After a period of reflection, giving special consideration to the value of the tones throughout the work, I was able to tweak certain areas.

I darkened specific tones around the shed to emphasise the edges, and lifted paint off in other sections to break into the solid structures.

Using white gouache mixed with a dab of yellow ochre, I applied splashes and thin marks of white paint where I felt the work required more light and movement.

About Judith Yates

Judith trained as a fine artist before a career as a professional designer and illustrator. She is now a full-time artist, exhibiting and selling work privately and through a number of galleries in the UK and has work in private collections both at home and abroad. Judith also runs regular workshops.

www.judithyates.com

PAINT RAGING SEAS IN ACRYLICS WITH JUDITH YATES