Flat fish have always fascinated me due to their eye migration and ability to change colour and blend in with their surroundings. They have more subtle markings and colours than some of the other species I’ve painted but once you start looking they have lots of beautiful shapes and patterns.
I began with a getting to know you drawing exercise using a semi continuous line on tracing paper as I thought it would be interesting to later try printing more expressive marks directly from the tracing paper.
Tonal drawing of lemon sole
For the more detailed drawing I staged a photograph and enlarged it using a simple grid method. With more detailed studies I find it easier to work this way as the fish go off faster than I can draw them. Also this one was eaten for dinner.
To capture the tones and patterns of skin, I tried a looser approach and thought it would translate well into watercolour by layering washes to create the depth and texture I could see.
Every painting or drawing is a learning experience, each subject has new discoveries and exploring ways of seeing. However painting the lemon sole really stumped me, I could see the patterns and colours that I wanted to describe but over complicated the layers. With every attempt something just wasn’t right, from muddying the colours, hard edges on the highlights and printing to many textures. It was incredibly frustrating to keep repeating the same mistakes.
It’s not that a painting has to be perfect, it just has to be right, whether that’s from the initial drawing stage or with keeping the luminosity of the watercolour.
Below are six attempts at the fish that for one reason or another just weren’t working.
At the time I felt it must be my drawing so tried to look at the patterns and tones again using stronger marks but now looking back I think the drawing was too complicated and I should have tested out painting ideas before launching into a final piece.
Second attempt at drawing the lemon sole.
Testing idea to not use masking fluid to achieve a softer highlight.
Testing watercolour around highlights and dropping colour into a wet glaze.
Once I worked out the best way to create the patterns the painting seemed to flow better. Below are a few photos of the painting in progress.
Tracing sections of the lemon sole to be printed with drawing ink using the blotted line technique.
The highlights have been lightly coloured in with pencil so I can see where they are.
Building up the first pale washes.
Adding watercolour washes to the paper background.
Adding pencil to describe the tones and crinkles of the paper.
Lemon Sole finished!
I’m glad I kept going with this fish as although it may not have eye catching bright colours, it’s delicate fins and beautiful rich layered patterns were worth the time to appreciate and understand them.
It has also taught me to experiment more, test ideas, analyse my work and to be patient with myself.
Lemon Sole by Lucy Clayton
Watercolour, ink and pencil
Signed giclee prints of Lemon Sole are available here
