About David Watson

Artist David Watson paints industrial cityscapes inspired by his memories of working in shipyards in Teesside.

Watson was born in Southbank, in Teesside. When he was 17, he enrolled at Middlesbrough College and studied art alongside fellow Southbank artist Len Tabner. At the age of 19, financial constraints forced him to leave college and earn a living. He went to work at Smiths Dock shipyard on the River Tees as a 'red-leader', painting the hulls of ships. Red lead was an anti-corrosive paint applied to the hulls of ships to protect them against rust. It was a dangerous job. As well as the toxic fumes from the paint, there was the danger of falling or being hit by heavy tools or components during the ships' construction.

Watson continued to make art while working in the shipyard, and at the age of 80 is still painting, drawing inspiration from his memories and the daily life he sees around him. Some of the work is literal while other paintings contain figures Watson describes as ghosts and relics of a time long since gone.

Painting techniques: analyse the visual elements

David Watson used composition, colour and texture to convey the atmosphere of industrial landscapes.

Task students with analysing how he used visual elements in his painting Shape Form of Redcar, Tees Valley. You could discuss the visual elements as a class, or ask students to work individually or in pairs/small groups, and note down their thoughts.

Shape Form of Redcar, Tees Valley

Shape Form of Redcar, Tees Valley

David Watson (b.1944)

Redcar and Cleveland Council

Composition and shapes

  • What can you see in the foreground? What can you see in the background?
  • How has David Watson used scale and perspective to suggest the foreground and background, and give the impression of a vast industrial landscape?
  • Would you say the composition has a focal point, or is it an 'all-over' composition that draws our eyes around the painting?
  • What shapes can you see?
  • How has David Watson contrasted the different shapes

Colour

  • What colours can you see?
  • What mood or atmosphere do the colours evoke?
  • How has David Watson used colours to help draw our eyes around the composition?

Texture

  • Describe the different textures you can see in the painting.
  • How have textures been used to suggest the different objects, surfaces and elements?
  • Do the textures tell us about how David Watson applied paint? Did he use thick or thin paint (or a mix)? What type of brushstrokes do you think he used?

Our industrial past

Shipbuilding in Teesside

The Tees Valley was among the most productive shipbuilding regions in the United Kingdom for over two centuries. Shipbuilding in Teesside can be traced back to medieval times but flourished in the seventeenth, eighteenth and nineteenth centuries – with iron steamships replacing wooden sailing ships in the mid-nineteenth century.

Red Funnel

Red Funnel

David Watson (b.1944)

Redcar and Cleveland Council

The industry benefited from the development of railways. The opening of the Darlington and Stockton Railway meant that the shipbuilding towns of Stockton, Billingham, Southbank and Middlesbrough developed better links. The proximity of the River Tees and the discovery of a rich seam of ironstone in the mid-1800s also led to the area's great shipbuilding success.

During the Industrial Revolution in the nineteenth century, the populations of these Tees Valley towns expanded hugely, with people flooding the towns to work in shipbuilding.

Art and Design activities

Use your art and your voice to celebrate your place!

These activity suggestions provide ideas for developing creative projects inspired by your local industrial heritage and artworks on Art UK.

Activities preparation: research source material

Ask students to research their local industrial heritage as source material for the making activities. This research could be set as a homework project before the lesson.

They could:

  • use the internet or a local library to source texts and archival photographs
  • sketch or take photographs of buildings or structures related to your local industry
  • note down street names or pub names that reference the industrial past of your place
  • talk to family members or neighbours who worked in a local industry (what do they remember? What's changed?).

Students should store their research sketches and notes in their sketchbooks.

Sketches and notes as source material

It might be helpful to show students examples of sketches and notes gathered by other artists to inform the development of their artworks.

Grand Union Canal

Grand Union Canal c.1951

Prunella Clough (1919–1999)

Jerwood Collection

Prunella Clough painted abstract paintings of industrial structures and sites – travelling around the country to gather ideas and source material. She took photographs, drew rough sketches and made notes to inspire her paintings. Kate Downie makes drawings of structures using quick, expressive lines and marks. L. S. Lowry drew simple line drawings of the places he saw around him, to inform his paintings of industrial scenes. Harry Norman Eccleston made watercolour paintings and prints of industrial subjects.

Activity 1: Create an atmospheric painting or mixed-media artwork inspired by the industrial past of your place

Task students with creating an artwork that remembers your local heritage and captures the atmosphere of industrial scenes and landscapes.

The step-by-step guidelines below may be helpful for students in researching, planning and creating their work.

1. Explore more industrial landscapes on Art UK for inspiration

Search for more artworks on Art UK that show industrial scenes.

  • What keywords could you use?
  • You could also try a search using the name of your town or city.
  • Save your research using notes and sketches in their sketchbooks.

Search artworks on Art UK

2. Choose your subject

Look through your research notes, photographs and sketches of your local area and choose the subject for your artwork. You might choose to create an industrial landscape or scene or focus on a single structure or object.

Blaenau Ffestiniog

Blaenau Ffestiniog 1993

Peter Prendergast (1946–2007)

Amgueddfa Cymru – National Museum Wales

Cranes

Cranes

Prunella Clough (1919–1999)

Leeds Museums and Galleries

3. Plan your composition

  • Reflect on your analysis of David Watson's painting Shape Form of Redcar, Tees Valley. How did he use foreground and background to create impact and space?
  • Decide whether you will use an 'allover composition', or focus on a single structure or object.
  • Think about the shapes you use. Could you simplify the shapes of a structure or other elements within the composition to create an abstracted artwork?
  • Could you mix geometric shapes with softer, organic shapes for visual impact?
  • In your sketchbook, draw some quick thumbnail sketches to try out different ideas for your composition.

Sketchbook of Drawings

Sketchbook of Drawings c.1898

Sidney Goodwin (1875–1944)

Southampton City Art Gallery

4. Choose your colours

Decide on the mood and impact you want your artwork to have.

  • Do you want it to be vibrant, powerful and exhilarating – to reflect the power of industry?
  • Or do you want it to represent the decline of industry and the ghost structures and signs we see around our towns and cities?
  • Which colours could you use to best evoke the mood of your artwork?

Industrial Landscape

Industrial Landscape 1959

George Kennerley (1909–2009)

The Potteries Museum & Art Gallery

5. Use brush marks to create texture

In his painting Shape Form of Redcar, Tees Valley, David Watson used a range of different brush marks to suggest the different areas of his image and create a rich textured surface.

Shape Form of Redcar, Tees Valley

Shape Form of Redcar, Tees Valley

David Watson (b.1944)

Redcar and Cleveland Council

  • He used expressive splats and drips of thinner paint to suggest the smoke and fires of the industrial scene and broad, thicker brush marks for the hull of the large white ship in the foreground.
  • These expressive brush marks contrast with the careful painting of the links of the chain and the intricate marks used to paint the fences and ropes.
  • Try varying your brush marks to suggest the different objects and surfaces within your painting.

6. Experiment with mixed media techniques

Trio

Trio (3 of 3)

Judy Liebert

Nottingham Trent University

Consider using mixed media techniques to add texture to your artwork. You could:

  • add torn images from magazines, or photographs, packaging, tickets and different textured papers and fabric to your artwork
  • paint onto your collaged surface using gestural marks, splashes, or splots
  • use tools you wouldn't normally draw or paint with, such as a twig or an old toothbrush.
  • try mixing materials – for example, try painting with water-based paint onto a wax crayon surface: what is the effect?

Browse the carousel below to research some of the ways artists have used mixed media.

  • Choose one or two of the artworks that interest you.
  • How have the artists used different materials?
  • Have they worked on top of the collaged surface with gestural mark-making?

Store your ideas in your sketchbook, using sketches and notes.

Activity 2: Make a text artwork or poem inspired by our industrial past

Text or word art describes artworks where the texts or words feature in the imagery or form the main content of the work.

  • Explore our Text in art Curation to see some examples on Art UK.

Return to Lerwick

Return to Lerwick 2007

Mike McDonnell (b.1939)

Shetland Museum and Archives (Shetland Amenity Trust)

Source material

Students will need a text to work with. This could be a 'found text' from their activity research into local industries, copied or printed from the internet or a local history library book.

Plan and create your artwork

  • Select words or phrases in the text that you think are powerful and evoke the industrial history of your town, city or village – or reflect your sense of place. Circle or underline the words with a pencil.
  • Colour in or stick scraps of paper over the words or sections of text you don't want to use – so only your selected words are visible.
  • You could cut out or draw shapes that relate to your local industry (such as kiln ovens, fishing boats, chimneys or smoke) to cover up the text you're not using.
  • Or draw or paint an image inspired by your sketches over the page, making sure that your selected words show through.

Top tip! Look at artworks by Tom Phillips on Tate's website, made by covering sections of text on a page with shapes and colour.

Poetry variation

  • Select words or phrases in the text that you think are powerful and evoke the industrial history of your town, city or village – or reflect your sense of place.
  • Put these words or phrases together to create a short poem or haiku. (See our haiku activity for writing tips.)
  • Decorate your poem with pictures from your sketches and research.
  • Or arrange the words and text to form a shape which relates to your industrial heritage. This type of shape poetry is often called concrete poetry.
  • Explore our words into art resource for concrete poetry tips and ideas.

Wave Rock

Wave Rock 1966

Ian Hamilton Finlay (1925–2006)

National Galleries of Scotland


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