The Artist - UK (2021-02)

59i February 2021 http://www.painters-online.co.uk

DIGITAL ISSUE EXTRA CONTENT

TA12 PRODUC SHOTS IN FOLDER – NOT

FORMATTED. CAN’T USE THE COLOUR

CHARTS

There are many elements that made

this view in Figueres, Spain, a complex

subject. The angle of lighting meant

there were many half lights (half tones)

and shadows; additionally there was

a lot of reflected light as a result of

the different building materials in the

subject, such as the shiny pavement

that leads to the Dali Museum. A tonally

light sky and strong sunlight created

areas with a high tonal key on the right.

The first stage was the tonally light

wash of the sky, which is ultramarine

p Figueres, Spain, watercolour on Hahnemühle Rough 140lb (300gsm), 12 3 20in (30.5 3 51 cm)

Deconstructing a painting

blue. The lightest tones of the buildings

were then put on. These were created by

the light falling on the side of the tower

and onto the surface of the buildings on

the right-hand side of the painting. On

the full-face side of the buildings facing

us, a half light was created by the angle

of the sun. This was a mix that included

a touch of cobalt blue – just to take it

down a touch – and to help give form to

the structures.

The next stage was the shadows, which

were added in quite quickly as they were

changing; these gave form to much of

the architectural features, windows and

so on in the subject. The strongest tones

went on next, including the trees and

the darker tones on the left.

The last stage was the darkest tones

that helped to give more form and the

figures that were added for life and

scale. Whenever we add a darker tone

we change the range within the painting

• in this case it pushed back the rest of
  the subject and increased the effect of
  the lighting.

Nick Digital.indd 22Nick Digital.indd 22 15/12/2020 12:0615/12/2020 12:06