Creative Artist - Issue 10_

Val Porteous

MATERIALS

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Step One

I lightly sketched my subject using a 2B pencil to

make sure of the composition, and particularly to

make sure I saved those areas I wanted to remain

white, like the top of the houses.

Generally, I thoroughly saturate the back of the

watercolour paper. The wet side of the paper is

placed on a board coated with gesso. The excess

water is towelledof, and the paper taped down with

masking tape. In this particular painting, I clipped the

watercolour paper to the board, as I wanted to move

the washes around and lay itlat to settle.

Step Two

I started with a Yellow Ochre wash at the top of

painting and, as I moved down the page, changed

to a Viridian wash to the building line. This is the

underpainting for the Ultramarine wash of the

mountain. While the Yellow Ochre sky was still wet,

I laid down a small section at the top of the painting

with Ultramarine Blue to gently drift down. I allowed

the wash to dry. I also started the vines with Cadmium

Yellow, Cadmium Red, some Viridian for the leaves and

Burnt Sienna for front of the vines, and allowed to dry.

Step Three

The next wash was Ultramarine Blue in the

mountains, adding a little Alizarin Red while still wet.

Step Four

I placed in the row of trees around the houses,

trying to keep them varied in colour and form, and

a faint blue touch in the houses to distinguish the

shadows.

Step 1

Step 3 Step 4

Step 2