38 artistMarch 2020 http://www.painters-online.co.uk
WATERCOLOUR
STAGE FOUR
From this close-up of the
distant city you can see
my intention. Whilst the
shadow washes were damp
I suggested shutters and
windows, taking great care
not to overstate and be too
de ned. I want to allow the
viewer to interpret what
is going on. In the right-
hand side foreground my
pigments were a lot thicker
and I allowed them to mix
on the paper, using light red
and French ultramarine. The
shutters are viridian. The
butter knife was used to imply
neglect, gra ti and texture
STAGE FIVE
The next stage was to create the focal area:
gures, parasols, the impression of a thrift
shop serving those struggling to get by. The
gures are 7½ to 8 heads high; movement
and gesture helped to create atmosphere.
The right-hand foreground area needed
richer pigment. I wanted to show a building in
need of attention. I used pigment of a thicker
consistency, that is, whole milk. My palette
here was light red, burnt sienna and turquoise
for the shutters. Whilst the pigments were wet
I again used my knife to create a distressed
feeling to imply gra ti on the walls. I needed
to have interest in the shadow areas to make
the foreground cohesive