Step by Step Demonstrations
'Autumn Light / Beck Hole'
painting of Beck Hole has a combination of 'warm' and 'cool' colours.
directional lines formed by the wall and fence on the left, together
with the shadows on the right hand side provide an excellent 'lead
in', introducing the viewer to the 'focal point', which is the sunlit
face of the pub. Recession is achieved by the use of cooler, hazy
colours in the distant hedgerow.
'Arches' Block, 140lb NOT.
and Newton' Artist's quality, 14ml tubes in the following colours: Raw
Sienna, Raw Umber, Cobalt Violet, Cobalt Blue, Cerulean, Ultramarine Blue,
Permanent Magenta and Burnt Sienna.
Nos. 2, 4, 8, 10 Sables.
drawing was undertaken using a 2B pencil.
the highlights were 'masked out' using traditional 'Rowney' Masking
washes using the following pure colours were then prepared:
Blue, Cobalt Violet and Raw Sienna.
may help to have a weak and strong mix of each. These three colours
are the basic primaries upon which the entire painting is based.
plus Raw Sienna,
Sienna plus Cobalt Violet,
Sienna plus Burnt Sienna,
Sienna plus Cerulean,
Blue plus Cobalt Violet,
Blue plus Raw Sienna,
Blue plus Permanent Magenta and a touch of Raw
Ultramarine Blue plus Permanent Magenta and a touch of Raw Sienna
Blue plus Raw Sienna.
paper was then wet over its entirety.
paint was then added to the damp paper, using predominantly 'pure'
colours, and a few of the 'lighter' mixes, allowing the pigments
to mix & diffuse on the paper.
sky was painted using only Raw Sienna, Cobalt Violet and Cobalt
The paper was then left to dry completely
before the next stage.
of the masking fluid was removed from between the distant hedgerow,
the foliage masses (top right) and the sunlit walls.
A clean finger is essential for this process and the paper must
be thoroughly dry.
washes using the same mixes were applied to the distant hedgerow,
the foliage masses and finally, the stone wall, fenceline and buildings.
was taken to allow some of the original wash to show through, thus
retaining some of the 'soft' edges present in the first wash
rest of the masking fluid was carefully removed.
fluid always leaves some unwanted 'hard' edges, some of these were
softened using a damp brush.
pale washes of Aureolin plus Raw Sienna and Cerulean Blue plus Raw
Sienna can now be carefully painted over the foliage on the right
of Raw Sienna plus Permanent Magenta and Cobalt Blue plus Permanent
Magenta can be added at this stage to many of the shadow areas in
the hedges and cast shadows on the road.
shadowy washes of Cobalt Blue plus Permanent Magenta were applied
to thewall faces in shade.
Final details were added to the building,
twigs and branches.