Step by Step Demonstrations
'Chiesa di San Moise, Venice
location for this painting of Chiesa di San Moise, is situated mid
way between Academia and St Marks Square and has always attracted
me as possible painting subject.
this particular evening, sunlight was bathing the facade of the
church and the figures were reflected in the wet pavement from an
'Arches', 140lb NOT.
and Newton' Artist's quality, 14ml tubes in the following colours: Raw
Sienna, Cobalt Violet, Cobalt Blue, Cerulean, Ultramarine Blue, Permanent
Magenta, Burnt Sienna and Cadmium Red.
Nos. 2, 4, 8, 10 Sables.
drawing was undertaken using a 2B pencil.
a few highlights were 'masked out' using 'Rowney' Masking Fluid.
These highlights were mainly on the sun struck facade of the church
and around selected areas of the buildings on the right, especially
around the balconies.
washes using the following pure colours were then prepared:
Blue, Cerulean, Cobalt Violet and Raw Sienna.
usual, it may help to have a weak and strong mix of each. These
colours are the basic primaries upon which the entire painting is
Sienna plus Cobalt Violet (a weak wash),
Sienna plus Burnt Sienna,
Sienna plus Cerulean,
Blue plus Permanent Magenta and a touch of Raw Sienna,
Blue plus Burnt Sienna and a touch of Permanent Magenta, Burnt Sienna
plus Ultramarine Blue.
sky area was wet thoroughly and Cobalt Blues and Cerulean added
while the paper was still damp.
of Raw Sienna plus Cerulean and Cobalt Blue, Permanent Magenta and
Raw Sienna were added, 'wet in wet' on dry paper to the arched windows
of Ultramarine Blue, Permanent Magenta plus Burnt Sienna and Burnt
Sienna plus Ultramarine Blue were added 'wet in wet' to the shadow
areas of the balconies.
The paper was then left to dry completely
before the next stage.
balconies on the right hand side and the building on the left hand
side in shadow were painted with the mixes used in Step 2.
of Raw Sienna plus Burnt Sienna and Burnt Sienna plus Ultramarine
Blue were used, 'wet in wet' into the awning.
of Cadmium Red plus Cobalt Blue were introduced to the flags.
details on the church facade were painted with mixes of Cobalt Blue
plus Permanent Magenta and a touch of Raw Sienna, Cobalt Blue plus
Cobalt Violet and Ultramarine Blue plus Burnt Sienna and a touch
of Permanent Magenta.
pale washes of Raw Sienna plus Cobalt Violet and neat Cerulean Blue
were added to the sunlit building faces to break up the white of
At this stage the masking fluid can be
carefully removed. A clean finger is essential for this process and
the paper must be thoroughly dry.
Cobalt Blue plus Permanent Magenta
Raw Sienna plus Permanent Magenta
Blue plus Permanent Magenta
Were added 'wet into wet' into the figures and foreground paving.
the paper was thoroughly dry, the figures were reworked using the
same mixes as Step 4.
In places neat fairly thick pigment was used to give additional
emphasis to individual faces and clothing.
washes were introduced to wet paper to capture reflections on the
Final details were added to signs canopies,