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COLOURS USED
#1 - Alizarin Crimson
#2 - French Ultramarine
#3 - Winsor Blue
#4 - CeruleanBlue
#5 - Raw Sienna
#6 - Light Red
#7 - Burnt Umber
#8 - Naples Yellow

BASIC COLOUR MIXES

[LG] - Light Green = #4+ #5
[MG] - Medium Green = #3+ #5
[DG] - Dark Green = #3+ #7+#5
[ML] - Mauve Lilac = #1+ #2
[RG] - Rich Grey = #2+ #7
[WG] - Warm Grey = #2+ #6

cw refers to the term "charge with" meaning to introduce a colour into a still wet colour.(Wet-in-wet)
sm refers to the term "small amount"

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After the Rain

BASIC COLOUR
APPLICATION


Application of washes.
This should be quick using as few strokes as possible to cover any area being worked on. A minimal amount of brush-strokes equals greater purity and translucency of colour. Too much dabbing and scrubbing when applying the colour kills its freshness.
Basic Mixing Method.
More water in the wash gives a pale or weak wash, more colour produces a stronger wash. Most mixes require only two colours, one will be darker than the other. Mix sufficient quantity of the lighter colour and just keep adding small quantities of the darker colour until you feel happy with it, keep checking your progress on your trial pad. I will try to create and present a chart of basic colour mixes (each being two colour mixes) Lilac is most common and rather difficult to achieve .see [*note] »

Planning the painting: This is very important!
First read through all the notes - mentally paint the picture before proceeding - analyse the source picture above - and PLEASE be aware of the colour mixes you are about to apply to each area, and the order in which they are applied, try visualising the result. Will the brush you are about to use carry enough colour - have you mixed enough colour - is the mix strong or weak? Try it out on your - trial pad!


[*note] on mixing Lilac or [ ML] Mauve Lilac:
From the feedback I've received mixing this colour seems to require a comment. When mixing two colours where one is much darker than the other, I would always mix sufficient quantity of just the pale colour, adding the darker colour by small amounts, until the correct tone and hue are achieved, continually using my test pad. However when both colours are dark, you need to decide which has the most intense staining quality. In this instance I feel that #1[Alizarin Crimson] is far more intense than #2 [French Ultramarine] so first mix sufficient #2 and add very small amounts of #1 until Lilac is reached, it's better to be too blue than violet. Try it out on your - trial pad!



Sky.
Mix pale washes of #6, #8, [ML] and a stronger wash of #2
Apply as wet in wet. Wet the sky area with clean water above the horizon first. The application of the sky is best achieved with the picture upside down.

Foreground Water.
Use the same colours and technique as you did painting the sky and allow to dry.



Distant hills
Using [ML] apply with a loaded brush loosely from left to right, try it in one stroke.

Fields

Using a medium strength mix of Raw Sienna apply in a horizontal wash the middle distant field.
For the foreground add a small amount of Winsor Blue to your Raw Sienna mix, to achieve a sombre green colour. Also mix a separate medium strength wash of Light Red. Apply the Light Red to the top part of the foreground being careful to leave untouched the areas of foreground water, then introduce the somber green mix as a wet-in-wet application.


Distant Hedgerow/trees
Using slightly stronger a mix of ML than that used for the distant hills.
Apply with a loaded brush and allow to dry.

Trees First Stage.
Using the somber green mix, paint the basic shape of the trees, use the large picture as a guide. Use this same colour and method to indicate the fence. Study the larger picture for guidance

Trees and Fence.
Using a strong mix of Burnt Umber and Ultramarine add the stronger detail with your number 4 brush. Look at the large picture to help you decide where to put your accents this will give the trees the final detail achieving the required feel of light and shade.
Also use the same colour and technique in the foreground track ruts

     



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