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Portland Quarry, watercolor, 12 x 13" (30 x 33 cm)
down well and correct and then not
altered and tinkered with which then
reduces freshness.
The painting demonstrated shows the
whole process from choice of subject
and then the technical application of
paint from start to finish. From my
perspective, it also demonstrates why
watercolour is so well suited for plein air
impressionism painting.
Rue Conti, Pezenas, watercolor, 10 x 12" (25 x 30 cm)
Depth, atmosphere and lighting are all key elements to the design
and contrasts within this painting. Perspective was important and
provided a nice aspect to the view. I had to work fast as the shadows
were changing quickly due to the angle of movement of the sun.
Collioure, watercolor, 10 x 12" (25 x 30 cm)
This is an excellent subject with landscape and architectural elements.
The lighting was crucial to the success of this painting.
» Without a good composition,
the painting is sunk before it
begins. The usual rules can be
followed. I prefer to go on what
looks right.
» Try to find natural
compositions when choosing
a subject. Most subjects will
have a view that lends itself to a
composition in a picture—try
to think in terms of areas of
interest.
» Place areas carefully on your
paper. An area of interest is
usually best placed toward the
center of a painting. Avoid
placing features too close to
the edges, particularly the
bottom edge.
» Choose a subject with a light
and dark side. A subject needs
contrast—with poor lighting
the subject can become flat
and features that would be
interesting with good lighting,
can be lost.
MY DESIGN AND
COMPOSITION TACTICS
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