Mediterranean Steps

THIS PAINTING SIT Ml I) IO EMBODY ALL THE CHARACTERISTICS I MAT I ENJOY SO MUCH ABOUT PAINTING IN COURTYARDS, CLOISTERS OR QUIET CORNERS - I HE OLD STONE, THE DAPPLED LIGHT, THE WARMTH OL Mil SHADOWS, BUT MOST OF ALL THE PURE PEACE AND TRANOUILLITY OF THE SETTING.

The strength of the lighting meant that a warm raw sienna underwash was essential to .ict as a base on which to paint the soft-toned. yet hard-edged, blue-tinged shadows. When applying an underwash I often favour blending colours and tones by dropping or applying paint to a damp surface, forcing the colours to bleed. With the shadows found in this type of building, however. I usually paint onto an underwash and allow it to dry without any softening of the edges.

The shadows on the steps were painted w ith a higher level of attention to detail than I usually give to a foreground - but they were clearly visible and begged to be recorded. So. using a small brush. I mixed some ultramarine violet w ith a touch of pure ultramarine and, having ensured that the underwash of raw sienna had already dried, painted the shapes of the shadows over it.

To introduce a feeling of distance and perspective into the scene. I used the following brush technique. Using only the tip of the brush. I started the application of paint at the top of the steps, lightly touching the surface of the paper. As the brushstroke came closer to the foreground. I applied more pressure to the brush, the result being that the bristles begin to separate and splay out just a little, allowing more paint to flow in a wider stroke. Without easing the pressure on the brush, I pulled the shadow paint right down towards the bottom of the composition.

This technique w ill result m a wider line for the shadow in the near foreground, and a thinner line in the distance, contributing to the sense of perspective.

Raw sienna was chosen chiefly for its warm qualities, and was washed across the walls and steps using a large brush

Shadows were painted onto dry paper and allowed to dry with a hard edge, suggesting the sharp light of the day

Raw sienna

Rust stains on the drainpipe were created by running a line of burnt sienna along one edge and leaving it to dry with a hard edge

Burnt sienna

Highlights were created by leaving the fully lit top of the stone unpainted between two darkly painted areas, reinforcing the contrast —— _

Ultramarine violet

Shadows were created by washing a mixture of ultramarine violet and ultramarine on top of a dry wash of raw sienna l ULK I YARDS. C l OIS I I RS WD ijl II I < HUM Ks

Freehand Sketching An Introduction

Freehand Sketching An Introduction

Learn to sketch by working through these quick, simple lessons. This Learn to Sketch course will help you learn to draw what you see and develop your skills.

Get My Free Ebook


Post a comment