58 Watercolor artist | FEBRUARY 2019
CLOCKWISE FROM LEFT
I fi nd that a careful pencil
drawing is essential. It
keeps me from worrying
about the details or
composition while painting.Sunlight and cast shadows
are important elements in
my compositions. Not only
do they provide great
diagonals, they increase
the sense of distance and
drama as seen in this
grisaille stage.For the fi nished painting,
Irving Place, Con Ed Tower
(watercolor on paper,
40x26), I further increased
the contrast of the shadows
to pull the viewer’s eye deep
down Irving Place to that
beautiful tower building.
I left areas of white paper in
places where I knew the sun
would strike to provide the
bright local color of the
brick and stone.I begin all of my paintings with a
value-pattern underpainting that,
by unifying the image, helps me
realize a large number of important
compositional considerations.
First, the underpainting establishes
volume and depth—especially atmo-
spheric or aerial perspective. Second,
it creates my focal point. h ird, it
forms true depictions of light and
shadow. And, i nally, a value-pattern
underpainting generates a dramatic,
emotional impact, especially when
using high-key contrasts.The Power of Grisaille
h e technique I use to create this
underlying value pattern is called
grisaille underpainting. Grisaille
(pronounced like Versailles) means
“grayness” in French. Historically,
works created completely in ranges
of achromatic gray were seen in
medieval- and Renaissance-era
frescoes and devotional triptychs
that depict minor saints, architec-
tural elements or trompe l’oeil
statues. (See “Great Feats of
Grisaille” on page 60).VALUE IS THE STRUCTURE THAT
HOLDS MY PAINTINGS TOGETHER,
AND IT’S THE FIRST PAINT
I PUT DOWN ON PAPER.