24 JUNE 2019 http://www.painters-online.co.uk
Demonstrationcontinued
Step 5 Defining
edges and shadows
1 I try not to worry about
achieving perfect edges and lines,
but rather to create an impression
of something. The darker layers
or shapes, which are selectively
added towards the end of the
painting process, can define areas
that appear too wishy-washy.
2 The small brush helped me
to paint more detail and the
painting began to make sense.
Shapes, whether negative or
positive, played a big part, such
as the shadow shape around a
chair can reveal far more than
the chair itself. The chair is only
a shape – a collection of tints
and tones. Outlining, although
tempting, can flatten so utilise
a brush to create a flat edge
where needed. Start at the flat
edge and pull down or across
with the brush.t
tStep 4 Establishing tone
1 Try to identify the bigger shapes so that colour groups can flow into each other.
If you try to paint each element separately, the picture can sometimes appear flat
and static. It will also feel as though you are painting by numbers. It is best to link
three or four shapes together to achieve some sort of flow. Keeping the brush loaded
with water and pigment, and always having a few colours mixed and at the ready
means that you can dip in and out when you need to change temperature or tone.
2 Having returned to my Aquafine Travel Set for the healthy spread of mid-tones,
and selection of darker pigments – browns, French ultramarine deep and Payne’s
grey – I set about painting some of the darker shapes to achieve a sense of depth
and perspective using wet-in-wet creamy washes. Some shapes were crisp and
tidy and others flowed into each other.ttTIPStand back and take a good look
on a regular basis. This can prevent
you from overworking. If your picture
is light overall, you don’t need heavy,
solid shadows. How much detail do
you really need?Watercolour plus
TIPTry to be excited about each
wash, even if it is a section of wall.
Use the bigger brushes for as long
as possible so you can achieve
looser shapes, spontaneity and
pleasant ‘inaccuracies’.