Ken Bromley Art Supplies

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"The Magic of Watercolour"

"It is a pleasure to review a video made by a watercolour artist with whose opinions and methods one is in complete agreement and sympathy. James Fletcher-Watson is a traditionalist in the best sense of that word and relies for his effects upon full washes of pure colour which allow the paper to shine through. He eschews the use of body colour and relies upon a limited palette for his delightful effects. He is a firm believer of painting "en plein air" and of drawing his inspiration direct from nature.

James is an advocate of the large brush in preference to the small, whenever possible, as an aid to achieving bold effects and eliminating unnecessary detail. He uses a small watercolour box and replenishes the pans he intends to use from tubes at the beginning of each painting session. The artist advises us to have a sketchbook always at the ready and to make several rough impressions of our chosen subject as an aid to deciding upon the most attractive composition. He stresses the vital contribution good watercolour paper can make-to the success of a painting and warns us not to be tempted to make a difficult task harder by using inferior materials for reasons of economy.

James's first demonstration is of a tree in winter and he makes two preliminary sketches from different positions. He dampens much of the sky but leaves some dry areas in order to obtain a blend of hard and soft-edged cloud effects. The artist then applies washes of pure ultramarine, merging into a mixture of cobalt and light red over the horizon. A stronger mixture of burnt umber and ultramarine is used for the trunk of the tree with Winsor blue, raw sienna and burnt umber for the ivy climbing up it. The distant bank of trees is rendered in a wash of cobalt and light red. Cadmium yellow, Winsor blue and a touch of burnt umber are used for the rich green of the foreground grass.

Next comes a quick but telling impression of a snow scene and this is followed by advice on colour mixing for such features of the landscape scene as skies, clouds, distant trees, foliage, grass, masonry and tiles.

The next demonstration painting is of an attractive Cotswold water-mill and for this the artist does some careful preliminary drawing. He alters the position of some trees in order to widen a gap through which the distance is glimpsed and deepens the tone of the other trees to provide contrast with the pale sunlit walls of the adjacent mill, improvements which strengthen the composition and heighten the impact of the painting.

The final outdoor demonstration is of a small barn and again two exploratory sketches are made, the second being chosen as the basis for the painting. Finally we are shown a number of the artist's finished watercolours.

James Fletcher-Watson is not only a popular and talented painter but is also an effective and experienced teacher with the ability to comment clearly and helpfully on what he is doing and why he is doing it. He describes his methods fully and holds nothing back. This is a video I can recommend with confidence to all those interested in the English watercolour tradition."

"The Magic of Watercolour"

"James Fletcher Watson’s The Magic of Watercolour starts from first principles with a simple technique and a loose and limpid style based on traditional values and the example of past masters such as Girtin, Turner, Cotman, Cox, Constable, et al. It contains the almost obligatory demonstrations of skies, trees, water, buildings, etc, but there are plenty of useful hints on how to combine these elements into a coherent landscape. There is also much useful advice about suitable colours and colour mixes. For those who aspire to the painting of traditional English landscapes in a traditional manner this tape provide an excellent start with sound advice."

"
. .. of all the videos and books I enjoy, I number James Fletcher-Watson as primus inter pares. His latest video Outdoor Painting is beautifully done; the paintings in quite the best order, with simplest first; the explanation of the colours most helpful as usual, and the commentary by James a real pleasure and an encouragement to listen to.

Betty Gingell in her critique, (April 1994) I felt, missed the point, especially about the Morston Quay picture. The subject was ideal to start with, as any painter from beginner to experienced would be undaunted by such a simple subject. Most people would probably overlook it as nothing worth trying and it was a marvellous object lesson in seeing what a lovely picture could result. It showed the importance of a big sky in Norfolk and the low horizon of mud and water with telling reflections of vertical posts. Surely a beautiful composition that inspires those of us who are learning.

I'd hate readers to imagine this the dull old video Betty Gingell finds it. The demonstration by James in the April Leisure Painter shows his ability and for those of us who really admire his work, the video Outdoor Painting is a must. And you may certainly quote me on this as I feel it is important.

Bill Jones, Essex"

"Another fine demonstration video which concentrates on how to capture atmosphere and immediacy by painting on location is lames Fletcher-Watson's Outdoor Painting. The versatility of watercolours is expressed though four contrasting demonstrations: a large-sky Norfolk landscape, a spectacular mountains and valleys view in the Lake District, an architecture-based subject at Castle Bolton, and, also in the Yorkshire Dales, Hubberholme Bridge, with its reflections and surrounding autumn trees."

"I wish the video Outdoor Painting featuring James Fletcher-Watson, had started with the end, and ended with the beginning. For although the artist was quick to advise that painting in the open air should be done as much as possible, since "being in it creates spontaneity", what ensues does not live up to that promise until we reach the middle of the journey.

In the beginning we are taken to the north coast of Norfolk to explore the art of "making a painting out of nothing at all", and then to the Lake District, which "has everything the artist needs." The contents sound interesting, yet like a supermarket sandwich, the package is bland and disappointing. I have the impression that this part of the video is aimed at the beginner and that, try as he might, James Fletcher-Watson's heart was not in it. His commentary was lacklustre, for he intoned, in the main, long lists of the colours he was using, like a high priest of the paint box. There was little else to enervate the spirit; few what fors, with what's, how's or when's. So much more could have been made of these nothing at alls.

However, when we visit the Yorkshire Dales, that "wonderful painting country", the strong architectural features of Castle Bolton clearly interested the artist. With more enthusiasm he discussed the important features of the scene which create focus, the need for accents and foils in a composition, and how to achieve them, the fascination of tackling stone and the ways one can bring out texture and shape with colour and strong shadow.

Enthusiasm is highly contagious and my absorption in this part of the video continued throughout Fletcher-Watson's final exposition of a scene at Hubberholme, with cottages and a stone bridge. In this painting he tackled the more complicated, crowded composition of stone, trees, rocks and water. The video concluded with a too brief summing up of the four paintings completed, during which the artist selected one as having "come off'. But he didn't tell us why!

This video is not for the beginner, in the main, as James Fletcher-Watson advised; but for those who enjoy a matter of fact approach, landscape/architecture painting and the Yorkshire Dales, it should prove illuminating."

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