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David's Folly
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Message
Posted
This is in response to a discussion in another stream. Based solely on David's sketch I will go through the process of how I would (er sorry - will) paint the scene. It will be done in my own style using my palette - it will be purely my approach.
I will keep it as simple as I possibly can and I doubt if it will take many minutes to do but that's not really the point - the purpose is to show a few tips on how I would arrive at a simple little painting which others may find helpful. I've already very quickly sketched out the subject - see below - and did it in ink so that it shows up well in the photo. It's on the 'wrong' side of Bockingford paper - you can probably see the squared pattern which I don't like painting on much but this an old sheet with some rubbish on the reverse - .
The first point to make is that I never get too hung up with straight lines - I always think it gives a bit of character and can always corrected if necessary as I add pigment . In other words the initial drawing is only a starter for ten! The important point is to ensure that positions and corners are in the right place otherwise the perspectives will never look convincing.
The next point is to decide the light source - I have taken top right - this enables me to determine tones and shadows as you will see when I start to add pigment.
So here it is - tomorrow I will start adding pigment and the fun begins:
Edited
by MichaelEdwards
Posted
I managed to get out t the studio for half an hour and paint this little chap - took 3 more photos (4 in all) and below is the second.
I used cobalt blue and light red in a weak mix for the distant hills. To do this I made a weak mix of each colour alongside each other and just pushed them into each other. I then painted the hills by dipping randomly into the mix resulting in a wash where both colours can be seen.
The roof was painted using the same two colours making the wash stronger for the middle section and stronger still for the left section. This gives the effect of light hitting the right hand side and the left being out of the sun - all a question of tone.
The grass was from lemon yellow plus a bit of green (can't recall which one I dipped my brush in but I think it was olive green. Then with the brush holding just pure water I teased the wash down the paper so that it faded a tad as it comes towards you.
Edited
by MichaelEdwards
Posted
Here's the third photo.
I painted the right handed section of the building with light red and raw sienna
The middle section with light red , raw sienna, and ultramarine blue
The left section with light red and Ultramarine blue
This use of just three colours ensures continuity and by varying the strength of the mixes I get stronger tone on the left emphasising the fall of light coming from the top right.
the trees were painted in a similar mix to the grass with a mix of light red and ultramarine for the shadowed areas of foliage towards the bottom left. Again the uses of the same colours used before helps establish continuity in the sketch.
Well getting tired - will post the last photo in the morning.
,
,Edited
by MichaelEdwards
Posted
So it's morning and time to post the last photo.
I've added some shadow under the eaves and trees using a light red and ultramarine blue mix - the same as used for the trees shadows above in the foliage and the building - again for continuity to pull it all together. The sky was a simple swipe of cobalt blue (already used in the roof) which I softened along its edges with a brushful of clear water.
This is a simple practice piece and for the beginner it's a good little study to do over and over again with different palettes learning the need to determine a light source, how the mixes work, how to apply them, and how to establish a style which works for the individual artist . It also helps in understanding how to achieve form and depth. In this respect the distant hills were kept light to make the main subject stand out and were done predominantly in a blue shade which is a receding colour.
The windows are no more than ultramarine blue with just a touch of light red (a stiff mix) painted as a sort of inverted 'L'.
As I said at the outset this s little thumbnail is done simply to convey my approach to the subject and has been kept as simple as possible without the intention of it ever being frameworthy. (new word I've just invented). Hope it's succeeded in this and that at least some have found it of interest.
Edited
by MichaelEdwards
Posted
I have done a few of these now, each slightly better than the preceding ones, but still looking clumsy. Onward! Onward!
The one thing I cannot come close to achieving is your sky. For the dimwit that is I, could you please explain exactly how you achieve that wonderful effect? I have done what you SAID but I havent got what you GOT, so I cant have done what you DID.
D