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