Snow Storm: Steam-Boat off a Harbour’s Mouth

Turner painted the original version using oil on canvas. I’ve attempted to portray just a portion of it, trying to convey the power and movement of this great piece by using watercolour washes. It may have been this painting that launched the legend that he lashed himself to a ship’s mast in a storm!

Using the sketchbooks of Turner as inspiration, Alan Bickley shows how to paint in the style of the master.

Few of us would disagree that JMW Turner was one of the finest painters of all time. Skilled and versatile in both oils and watercolour, he also produced some outstanding pencil and ink drawings in his sketchbooks.

In this article, I’ll be taking a brief look at some of his methods of working, his palette and papers, and in particular his watercolour sketches found in almost 300 bound sketchbooks, which he bequeathed to the Tate Gallery (now Tate Britain) on his death in 1851. Turner’s output was phenomenal, so I’m only going to be able to scratch the surface in this article, but I hope to whet your appetite to continue experimenting and to further study this great painter.

My approach to Turner’s East Cowes Castle with Crescent Moon. This was sketched out on Ruscombe Paper Mill’s India Office tinted drawing paper, (17.5x 28cm). I’ve used a homemade reed pen with walnut ink to draw out the composition, then added a touch of colour with white chalk highlights. I worked rapidly much in the way that I expect Turner did on this simple sketch. Reed pens are such an expressive drawing tool; fine detail isn’t an option, which is no bad thing.

I’ve long considered it to be a useful exercise to study the works of the Old Masters and to learn from them. It was something we were frequently encouraged to do at art college and to develop our own style in the process. My intention here isn’t to copy them painstakingly as this would yield little or no value for the serious painter. It’s important to develop your own painting technique and always express yourself without predetermined ideas or limitations.

Watercolour study of Turner’s Chateau de Blois, Loire Valley c. 1828-30. My version is on RuscombePaper Mill’s Turner Grey paper 11 x15in. (28x 38cm). The toned grey paper proved really effective for this study, giving me unity throughout the work. I used both transparent watercolour and body colour in this fairly complex study.

I will be using paints that are similar to that of Turner’s day and looking at a selection of tined papers, some similar to those used by Turner. I’ll be referencing my own examples of local landscapes, and some a bit further afield, all worked up in the studio from my numerous sketchbooks. To accompany these sketches, I’ll also be working from a few of Turner’s studies to further understand his working methods and techniques.

For clarity, I’m copying from, and replicating the style of Tuner, in order to learn from the experience; not creating an image for sale or marketed as my own original work.

Sketchbooks and supports

A selection of handmade papers, made from linen and cotton rags from Ruscombe Paper Mill. Turner often opted for gelatine-sized linen papers. These gave him a strong surface that could be reworked repeatedly. It’s important to note, however, that gelatine-sized paper will need to be stretched to prevent cockling.

Turner was known as the ‘painter of light’, and made hundreds of loose colour studies, where he rapidly applied large areas of muted, translucent pastel washes, some with contrasting vibrant reds and oranges, often adding very little, if any, detail. Many of these sketches were preparatory studies for larger more finished works, but they all convey the excitement of exploiting colour and pushing tonal values to their extreme for which Turner was famed. It’s this collection of sketchbook studies that particularly excites me and inspired me to delve deeper into his working practice.

From Turner’s Coastal Terrain, South of France or Italy c.1830. I opted for a sheet of Turner Grey for this painting, starting off by loosely drawing in the main structure using brown ink, before committing to paint.

Turner’s tinted or toned papers formed an integral part of his work, whether for a rapid sketch or a highly finished watercolour. You can easily tint your own paper with a watercolour wash, preferably using a neutral colour, such as blue, grey or beige. Alternatively, you can do as Turner often did, and immerse the sheet of paper into a watercolour solution, or opt for the numerous ready-tinted papers that are available to us today.

I often use Canson Mi-Teintes tinted pastel paper, which provides a reasonably inexpensive support for dry brush and pen drawing in particular, as opposed to heavy washes of watercolour as it’s relatively lightweight. Another inexpensive alternative is to use tone mountboard, but stick to the neutral colours.

The Pont du Château and the Bock, Luxembourg c. 1839. My simplified version of this outstanding landmark on stretched Turner Grey paper, (28x 38cm)

A favourite paper that Turner used is referred to as Turner Blue, Turner Grey and Turner Nocturne laid papers. These tinted papers would often be used as a ready-made colour to establish both sky and water, as well as providing a cohesive background to a painting. He would often plunge straight in with transparent washes using warm vibrant reds and orange, contrasting this with dry brushwork passages of cooler hues, and using gouache, or body colour to strengthen certain passages within a painting.

Stafford Castle 2, another aspect of this local castle c. 1950 on Two Rivers 300lb (640gsm) NOT watercolour paper, (28x 38cm)

As well as using repeated watercolour washes in his paintings, Turner was a master at the dry brush technique and used it to great effect. He had at his disposal a variety of mark-making tools. Often these were old worn brushes, and I believe he also used hog brushes to achieve a variety of effects on small passages within a painting. This wasn’t traditional practice in watercolour painting of the day, but Turner broke away from tradition, stippling, spattering, scratching out, using his fingers –anything was fair game!

Demonstration: St Hilarion, N. Cyprus

This watercolour painting is referenced from sketchbook material I made while on holiday in Cyprus on Turner Blue paper, (19x 28cm). Named after a monk who once lived there, but it’s now a castle!

Stage one

I first stretched my sheet of paper and while it was still wet, added a cobalt blue wash over most of the surface, leaving just a few untouched areas. I also loosely washed in a light mix of oranges, reds and gamboge – nothing too dark, just enough to give me a background to work on. With my rigger brush loaded with walnut ink, I started loosely to draw in some of the main structure. I was looking for atmosphere here, not extreme accuracy.

Stage two

Continuing with more rigger brush work and walnut ink I emphasised the structure of the historic 11th-century castle. You could use a dip pen for this. I then blocked in some of the walls. I lightly indicated the distant mountains and a winding road, which lead up to the castle.

Stage three

I used some dry brush work on parts of the structure, to indicate their shape and add solidity. I also added a touch more blue to the sky to give the illusion of feathery clouds, then started to draw in a few trees towards the bottom of the castle rocks, using walnut ink and a fine reed pen.

Stage four

It all needed pulling together a bit, so I reworked some of my original line work that was starting to disappear under the washes. Finally, I dropped in a few highlights using a mixture of Winsor & Newton white gouache and neutral grey gouache, taking care not to overdo them as too many can distract the eye.

PAINT A LONDON SUNSET INSPIRED BY TURNER WITH GLYN MACEY

About Alan Bickley

Alan is a retired graphic designer and editorial artist for the Daily Mail group of newspapers who has been painting and drawing for many decades, and studied fine art and graphic design at both Stafford and Derby colleges of art in the late 60’s.

Alan writes regularly for The Artist and you can enjoy a series of demonstrations in various mediums by

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See more from Alan in the gallery by

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