Tag Archives: watercolour


What Is Notan?

Notan is a word taken from Japanese art.  It refers to seeing a subject in terms of flat shapes of black and white.  It sometimes uses just 2 values: black and white.  More practically we can use 3 values: white, black and mid grey.  You can of course use more values but I find the real benefit is to translate a subject into 3 values.  It’s a fabulous discipline. 

Why Bother?

The point is if the 3 value study works then you can be pretty confident that the painting will work.  If your pattern of lights and darks doesn’t work it will show up in these quick little sketches.  Notan is a skill that has to be practiced to master it.  It’s very easy to understand it but not so easy to do it.

One thing we learn is that there are so many decisions that go into simplifying a subject.  I guess I would say that simplifying is not simple.  Not simple but very worthwhile.

Practicing Notan enables us to analyze a subject or photo before we paint it.  This is part of the journey of improving our art.

Examples of Notan

Rex Beanland, Sports Experts

Rex Beanland, Notan Sports Experts, watercolour, 8 x 10



Rex Beanland, Exshaw

Rex Beanland, Notan – Exshaw, acrylic, 7 x 9



Rex Beanland, London– people walking

Rex Beanland, Notan – London, People walking, acrylic, 5 x 7



Rex Beanland, Stephan Ave bicycles

Rex Beanland, Notan Stephan Ave, acrylic, 7 x 9



Rex Beanland, Bow River Pathway

Rex Beanland, Notan – Bow River Pathway, acrylic, 6 x 8

The Benefits

Like any new skill it takes time and practice to master Notan.  However, the benefits are truly worth while.  It’s a lens through which we see subjects differently.  It simplifies and focuses the way we look at a subject.  It gives us a tremendous advantage when we come to paint a subject.  Finally it’s quick and a lot of fun. 

One of the main benefits is that  Notan forces us to simplify the subject.  When we simplify we learn that a lot of the detail doesn’t actually add much to the painting.  

In Summary

Adding Notan to your arsenal of painting  tools will, without doubt, take your painting to new levels.  I really encourage you to give it a shot. It  makes our painting process more intentional.  It will lead inevitably to better paintings!

Rosebud Plein Air Weekend

I participated in a wonderful art event the past weekend in Rosebud, Alberta.  Rosebud is a little hamlet that is almost totally dedicated to the arts.  We’ve visited Rosebud many times to go the theatre but this is the first time I have actually stayed there, if just for a weekend.  It felt great to be a temporary resident of Rosebud.  I even participated in the drum circle and got to perform a couple of songs.  I camped there and the sense of peace and quiet especially at night was wonderful.

Anyway, this is one painting I did.  It’s based on my plein air study.  It’s a view from the top of the valley looking down on Rosebud.  I been drawn to this view for a number of years but I was never sure how to paint it.  This style is something completely new for me which makes this painting super exciting.


Rosebud, Alberta

This next image is a view of the ‘downtown’.  Again I’ve looked at this scene many times and it never really spoke to me.  This time I had a bit of time to kill and I wanted to try something so I just started with a little pencil sketch and all of a sudden I thought there was some potential.  This really showed me that anything can be turned into a good subject. It’s all about the eye of the beholder.  So don’t keep looking for the perfect scene.  Work with what you have and turn that into a great painting.  This is a plein air study.  


Downtown Rosebud

It was a great time and many thanks to all the organizers who made me  and all the other participating artists feel so welcome.

Gibsons Landing Workshop

I had the pleasure of offering my first in-person workshop in 16 months.  It was for the Gibsons School of the Arts.  They do a fabulous job of presenting quality art workshops every summer.  They are a very vibrant and friendly group.

The participants in the workshop were also an especially great group to work with.  

Rex Beaanland, Class photo, Gibsons
A great group of enthusiastic watercolourists

The Paintings
 Piazza del Popolo

The first demo was of the Piazza del Popolo. It’s a great subject that teaches so many useful watercolour skills. We took a lot of time learning how to create a mass of background figures.

I’m including a detail of these figures. They tend to look unfinished when you look at them up close but from a distance they magically become figures.

Another thing that I use frequently in urban landscape painting is what I call ‘ghost figures’. They are figures in the foreground that are there to draw you in to the painting. I particularly like the way that their lower half sort of disappears.

Ghost Figure

The participants’ examples.

Granville St

The last demo we did  was a scene from Granville St in Vancouver.  We didn’t have time to finish it but you can see that everyone is well on their way.

Boats At Gibsons

We also did a painting of boats at Gibsons.  This was a challenging painting but as you can see from our Wall Of Fame  it was also well done.

Rex Beaanland, wall of fame, Gibsons
The Wall Of Fame

The workshops are now being held in the High Beam Dreams which I believe was originally a church.  A great space.

Rex Beanland, high beam dreams, Gibsons

My demos

Here are the paintings I did.  I finished them off at home.

Rex Beanland, Piazza del Popolo Gibsons
Piazza del Popolo
Rex Beanland, Boats at Gibsons, watercolour, 20 x 15
All Quiet In Gibsons
Rex Beanland, Granville St, watercolour, 15 x 20, Gibsons
Granville St


I just love teaching art so it was a wonderful experience being in Gibsons.  Many thanks to everyone who participated for making it such a great experience.  Thanks also to Dee for being my excellent assistant!

Rex Beanland, Dee paints, Gibsons

Plein Air Painting

After the workshop Susan and I spent a week meandering to the end of the Coastal Highway (about 150 km).  I did a few plein air paintings which I super enjoyed.  I remember so much more of a location when I paint it then I ever do from a photograph.  It’s the greatest way to visit new locations.

Rex Beanland, Lang Bay, watercolour, 9 x 12
Lang Bay
Rex Beanland, Saltry Bay, watercolour 9 x 12
Saltery Bay
Rex Beanland, Historic Town Site, Powell River, watercolour, 15 x 11
Historic Town Site – Powell River
Rex Beanland, Pender Harbour, watercolour, 11 x 15
Pender Harbour

It was truly a great experience!

Rex Beanland, class photo 2, Gibsons

Finally – In Person Workshops

After a year of isolation my first in-person workshop will be happening April 17 – 18 at Swinton’s Art Supply, Calgary.
For information visit Swinton’s website.  You can also call the store 403-258-3500.

I’m very excited about this workshop for 2 reasons.  Firstly I want to emphasize ‘how’ I approach almost any urban Landscape subject.  In other words I want to show the process I use.  It’s a fun and easy way to paint but the main benefit is that it gives you a consistent plan to follow when doing an urban landscape painting but in truth it will also work for many other subjects.  The second reason is that I decided that I wanted to do something completely different on the second day.  So for the first time I’m going to do something I’ve been working on for a long time – namely a portrait.  I imagine many people will be very surprised but I intend to show that even a subject like this that might seem daunting can be done fairly easily with the right process which is what I’m going to show.

This little video clip promotes the workshop.

Transparent Watercolour Portraits

For the past 10 years I have focused on urban landscape.  Over that time the figures in the paintings became more and more important.  So this interest in portraits is a natural outcome of that process.

I’m trying to develop a process that is fairly quick, a little impressionistic and that captures the character of the subject.  Like anything if one keeps practicing one  will eventually get there.  These are 2 studies.  

I find that when I do portraits I really do feel a personal connection with the subject.  I love this process.

Rex Beanland, Mary Ellen, watercolour, 12 x 15
Rex Beanland, Mary Ellen 2, watercolour, 12 x 15

Clothesline Sale Demo


Rex Beanland, Barley Mill watercolour, 15 x 20

Barley Mill
watercolour, 15 x 20


Rex Beanland, Clothesline Sale Demo

Clothesline Sale Demo















Rex Beanland, Clothesline Sale

Artists painting on the hill.







Rex Beanland, Painting In The Foothills

Painting In The Foothills













I did a demonstration at the Leighton Centre on Saturday June 1 for their annual Clothesline Sale.  It is always a very  enjoyable event.  Lots of people, lots going on, and  a chance to catch up with friends and fellow artists.  After the rain yesterday, today was beautiful.  Sunny all day. Unfortunately, as you can see I forgot to take a hat and I don’t do well in the full sun so I’m paying for it tonight.  But it was a great day.  I enjoyed the day  and I’m very pleased with the painting.  It’s of the Barley Mill at Eau Claire.

As I heard someone say recently, the real subject of a painting like this is not the objects, the people etc but it’s the light and this painting I think has a very strong sense of that wonderful yellow light.

I also enjoyed  having nearly all the figures work as lights against a darker background.  Lately I had fallen into a bit of a trap of always trying to make the figures very dark.  However when you have a dark figure against a dark background there is no contrast and it’s boring or muddy.  So I like the fact that the figures are all lighter than the background.  The lightness of the figures in this painting was achieved by mixing in a little white gouache with cobalt or ultramarine blue.

The Day The Twins Came To Visit


Rex Beanland, The Day The Twins Came To Visit, watercolour, 14 x 7

The Day The Twins Came To Visit
watercolour, 14 x 7


Rex Beanland, Behind Lougheed House

























I’ve always been a big proponent of the benefits of playing with paint.  It’s often surprising how much you can learn from it.  This painting is an example.

I’ve always found this building very interesting.  It is right beside the Lougheed House.  The other day I wanted to do a little painting but wasn’t interested in doing a detailed drawing and all the other ‘stuff’ that goes into a formal painting.  I had a long and narrow piece of paper at hand and just for fun I thought I would try to paint this house.  Because I had to fit the house into this unusual format I couldn’t worry about being accurate and I painted that way.  With very little pre-thought  I just began throwing paint around.  It was half an hour of pure fun.  When doing something like this there is absolutely no pressure.  It’s all about just playing.  I was just reacting to what the paint was doing on the paper.  Also because I didn’t really care if it worked out or not as soon as I got an idea I just did it.  For example the house, because it was a very light value and there weren’t a lot of shadows didn’t really stand out as much as I wanted so I thought ‘let’s see what it looks like if I exaggerate the darks on both sides’.  From the photo you can see that there was actually a very dark house beside it which helped.

That feeling of being in the moment and not worrying at all whether it would be successful freed me up to just have fun.  From all this playing I realized how much I want to have the same feeling of fun in my ‘serious’ painting.

The title came from the 2 figures on the left.  I put my usual blob of orange for the faces but the background was wet so the paint spread out and it began to look like a couple of wild afro-type hair styles.  So those 2 blobs evolved into the twins.


I think the spontaneity of the process shows in the final painting.

On Location In Calgary

I have been doing many on-location studies of  scenes in Calgary over the winter and spring.  It has been a wonderful learning experience.  The main lessons I have learned from this process are:

  1. Before I begin painting I need to plan the entire painting process including getting the composition, the colour family, value pattern and what story do I want to tell.
  2. Using a viewfinder really helps to simplify the composition.  So much needs to be left out.  Simplify, simplify, simplify.
  3. Choose an overall colour scheme before I start don’t try to recreate the actual colours.
  4. Decide on the value pattern that helps tell the story.
  5. Decide on what story I want to tell.
  6. Even though this takes a bit of time, the painting always goes more quickly and effectively if I do all of this.

This process is all very new for me.  I normally  just do a quick sketch and then start throwing paint.

The interesting thing about all these paintings is that the actual scene in each case (with the possible exception of the Dog Park and Tivoli) is not particularly attractive and each one except the dog walk was done on an overcast day.   Also the figures were all from my imagination.


no images were found

Car Arches Detail


Rex Beanland, Car Arches Detail, watercolour








I posted a painting  a few days ago.  It’s a copy of a Joseph Zbukvic painting.  This particular image is a cropped section of the original painting showing just the centre of interest.  It’s just one of those happy accidents that the pattern of lights and darks in this image is so effective and attractive.  This section alone makes a lovely and successful composition.

Forest Fantasy 2

Rex Beanland, Forest Fantasy, watercolour, 9 X 12







This is definitely a one off.  Again it was an old pencil value sketch that I did a few years ago.  I was just in the mood to try something different so I thought I would try to turn that value sketch into a colour study.

I like the opaque marks of cad red light and cad orange.


Forest Fantasy 2
9 X 12