The Artist - UK (2019-12)

56 artistDecember 2019 http://www.painters-online.co.uk

WATERCOLOUR

u STAGE THREE

The darker grey of the foreground

buildings was developed with mixes of

light red and cobalt blue, combining

drybrush and wet-in-wet techniques to

keep this an impression. I added touches

of raw sienna to create warmth in the

windows on the right. The bus and phone

box were picked out with alizarin crimson,

with touches of grey to mute the colours

and suggest the relections on vehicle

windows. Details such as wheels, traic

lights and igures were added with a rich

dark mix of burnt umber and ultramarine

• I varied the tones by adding more or less
  water

p STAGE ONE

Combining my photos and tonal sketches,

I developed the inal composition, using

the igures and traic to create scale and

movement and emphasise the aerial

perspective and hazy distance. This was

lightly sketched onto the paper with a 4B

pencil

t STAGE TWO

I started with a pale wash of raw sienna

across the sky, buildings and road, lifting out

highlights and relections with a damp brush.

While all was still wet, a pale grey mixed from

burnt umber and ultramarine was added and

encouraged to run down the sheet, creating

streaked clouds and tinting the buildings.

Once dry, I developed the distant buildings

with a slightly darker mix of the same grey,

varying soft and sharp edges to create the

efect of the rain

p Wet grey day tonal sketch
On a recent sketching trip to London I was blessed with heavy rain. Looking towards St Martins
in the Fields, I was inspired by the glossy relections on the wet road and receding tones of the
buildings to gather reference with quick sketches and photographs for a studio painting

DEMONSTRATION Wet, Grey Day, London