TheArtistApril2016__

Glyn Macey’s 

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STAGE FIVE 

Knock the blue-grey mix back by adding some extra white, and use

the mount card to add pale greys to the buildings, getting paler as

the street moves into the distance. Drag marks across the road to

create instant 'wetness' to the dark reflections

STAGE SEVEN 

Add pure whites into the sky area and scumble down over the distant

buildings. This will have the effect of creating the all-important smoky haze

of the vibrant city. While I had the white paint on the brush, I added

touches to the street

28 artistApril 2016 http://www.painters-online.co.uk

STAGE EIGHT 

A touch of phthalo blue tempered with titanium white was added to

the buildings with a brush to give a sense of light and life. These marks

also signify signs and reflections. At this stage I also added a wash of

burnt sienna over the distant right-hand building, which helps to draw

the eye into the centre

STAGE NINE

Colour can now be added to the focal point area to draw the eye in. I

used a touch of cadmium red to signify traffic lights and brake lights

on the vehicles. Don't forget to drag reflections of the red into the wet

street

STAGE SIX 

I used an old cut-up credit card to apply paint to the buildings and

street. If you don't have an old credit card or membership card, use a

palette knife. Essentially, when painting buildings, which are usually

hard and angular, it pays to use mark-making implements that echo

that. I began to add neat whites to the painting at this stage on the

buildings, remembering to follow the perspective lines. I also added a

little of the original dark mix to the focal point at the end of the street.

These marks are fairly ambiguous, suggesting traffic, people and

movement

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