The Artist - UK (2021-02)

http://www.painters-online.co.uk artistFebruary 2021 57

PRACTICAL

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TA

MATERIALS

l 2B pencil

l Soft rubber

l Paper: Royal Watercolour Society

140lb (300gsm) Rough

l Natural fi bre brushes: large Round,

Nos. 8, 5

l Watercolour paints: Naples yellow,

cadmium red, yellow ochre, French

ultramarine blue, cobalt blue, red

iron oxide

Painting from light to dark

The objective is to paint in a way that
helps us to create shapes and give
form to the subject while preserving
fresh, clean colours that are crucial to
the success of a watercolour. After the
initial drawing is done it is important
to identify the lighter tonal areas that
must go on fi rst. When painting en plein
air you must decide quickly because the
light will change; it can also be helpful
to draw in shadows that will inevitably
change place – a picture must make
sense with shadows being consistent.
When we are faced with the subject
it is helpful to think in terms of areas
of paint and to place the washes in
a logical order. I try to identify three
separate aspects of tone and three
stages within the scene.
The fi rst stage is putting down
the lightest tones; in landscape or
architectural subjects these tones are
usually towards the yellow-red end of
the spectrum but can also include the
white of the paper, off whites and other
colours. This is a crucial stage because
these are the lightest tones we wish to
preserve. This stage can also include
underpainting – any colours you might
wish to show through subsequent
layers. In this fi rst stage washes of pure

colour, pure pigment can often be

used. Because we are working with the

lightest tone it is important to use a

clean palette and clean water.

The next step is what I refer to as

the half-tone step – not the strongest

tone but enough to either cover up

completely or cover enough to show

underpainting as required. The purity

of these washes is very important to the

overall end result, so try to mix using

a minimum number of colours. Keep

the palette and water clean. While

completing these stages work from

large to small areas and try to use an

appropriate brush size for the area you

are covering. Always mix enough colour

to cover the area to avoid having to

hurriedly mix more paint half-way down

a wash.

The third step is the dark tones. These

completely cover the previous layers

and create the greatest contrast in the

painting. Every time an area of paint

is added the contrast and focus within

the painting alters. For this reason

this last stage is often associated with

the balance of the painting, as the

distribution of details and strength is

assigned at this point. This is often the

stage associated with the dark shadows

and at this point we really can create a

sense of lighting. For smaller areas of

detail use a fairly small brush or at least

one with a manageable point.

All contrast is created within these

three stages and it is crucial to the

success of the painting. Contrast can be

tonal or it can be with colour or it can

be textural – for example the distinct

difference between a dry brush area

and a fl at wash.

Whenever we paint there are areas we

feel more sure about than others and

we can reach a point where we don’t

know what to do next. In which case

I always urge my students to pause,

let everything dry and then start the

process again in the unresolved areas,

working from lightest to dark tone; this

usually provides the solution. Because

we cannot make changes in watercolour

we should consider carefully before

putting brush to paper but when we

do, we need total conviction, so spend

more time observing and mixing than

applying the paint, which should be

done quite quickly.

The very last stage of any watercolour

is the detail and here the judgement

of balance becomes very important. It

is worth considering that the moment

we place a detail in a picture the eye

will be drawn to it. The distribution and

weight of these details are important in

making the composition look right.

DEMONSTRATIONAgde

This subject was a little complicated due to
the need to preserve the lights. The key to
making the view a success was to simplify
without losing any of the key ingredients
of it. In watercolour we use the fact that we
have to work from light to dark to organise
the painting and, in doing so, we also
simplify.

u Here you can see my painting kit, set up
in front of the scene