Summer Afternoon, acrylic on watercolour paper, (30x40cm)

Jackie Garner shows how to paint and modify flat washes and block in your paintings.

What is blocking in?

Blocking in is a process by which we begin by adding colour to each part of our picture so that every area has a single layer of flat colour. Flat colour is the term used for an area of colour that is unshaded and of a plain, smooth texture. So, in the initial stage our painting may have plain blue for the sky, green for the foliage and brown for a tree trunk. Thereafter we will modify these base colours.

Blocking in has the advantage of establishing all our main colours from the outset so each part of the painting progresses at the same rate. As we add colours and tones, we can judge them against others already in the painting, not against stark white as in last month’s image. No part of the painting is completed significantly earlier than the others.

How do I modify a colour?

There are numerous ways to do this: scumbling, dry brushing, stencilling, glazing, sponging, spattering among many others.

Modifying gives an appearance to an area of paint that could not be achieved with a single layer alone. We can modify a colour either by using contrasting tones or colours, or by using a very similar colour so the difference is very subtle. Try using the same method for different colours and tones to see how those differences affect the results.

Scumbling

Scumbling (see example below) is an effect where a similar or contrasting opaque colour is rubbed over the initial colour. Scumbling is excellent for cloudy skies, as the brushmarks are soft edged. It’s also useful for softening a background colour, perhaps for a portrait, when you want an interesting, but muted colour.

Take neat, or slightly diluted, paint on your brush, wipe off a little on a rag or paper then gently rub the remaining colour over your surface. Old brushes are especially useful for this purpose. Do not cover the surface completely. Your aim is to let some of the initial colour show.

In this example I used a single colour over a dry base. Alternatively, you could use two or more colours and scumble them together. Try it!

Dry brush

Similar to scumbling, dry-brush work is when you use neat paint, wipe most of it from your brush then gently pull the remaining colour across the surface. Dry brushing works best over a textured surface, as the paint catches the top ridges of the surface, but any troughs remain as the underlying colour.

Glazing

Glazing is when a thin layer of transparent colour is applied over the underlying colour.

Demonstration: Summer Afternoon

You will need:

• Acrylic paints: ultramarine, lemon yellow, primary red, titanium white, a variety of browns mixed from the the three primary colours

Step 1

Begin by applying a single layer of flat colour over each part of the painting, to establish the different elements. You could draw the scene first if you’re not confident in going straight in with a brush.

Top tip: Dilute your heavy-body paint so the colours can be stroked over the surface easily. For the remainder of the painting the colours are either used neat from the tube or with very little dilution.

Step 2

With the main colours established, start to modify each part in turn:

1. Scumble pale colour over the sky to form the basis of clouds.
2. Dab scrunched kitchen roll, dipped in dark green paint, over the trees.
3. Stroke a pink-grey colour, in a similar tone to the green, over some of the foreground to suggest variation of the ground.
4. Apply dark purplish-grey to the tree trunks.
5. Strengthen the shadows cast by the trees.
6. Add shadows to the sheep.

Top tip: The painting may look quite naive in the early stages of the blocking-in process so it’s important not to feel discouraged. The details will come later!

Step 3

Now add a third layer of colour throughout the painting.

1. Strengthen the clouds with titanium white.
2. Use a fan brush to apply light green over the tree foliage.
3. Mix a warm cream colour with lemon yellow, primary red and titanium white. Apply to the sheep and use sparingly over the tree trunks.
4. Strengthen the white highlights on the sheep.
5. Introduce stones into the foreground to add interest and contrast with the plain field behind.

If you're new to painting, don't stop here! Explore our other beginner-friendly guides to learn all you need to progress and develop your oil and acrylic skills.

Step 4

1. Repeat the fan-brush work on the trees with a dark tone, this time using it for the darker, shadowed areas of leaves. Be careful to retain a range of light, medium and dark tones, rather than create an even tone throughout.
2. Using a mid-tone purplish-grey, scumble shadow onto the lower edges of the clouds.
3. The same, or a similar colour can be used to modify the distant hills, making them stronger and a more considered shape. Use this colour to add shadow to the foreground stones.
4. The tree branches can be adjusted, increasing the number and complexity.
5. Add some shadow below the sheep to anchor them to the ground.

Top tip: Adjust the top edge of the front field at the right-hand side to make a more pleasing shape.

Step 5

Take stock of your painting and to see what further modification is necessary.

1. Add more light tones to the trees, both to the foliage and tree trunks, and increase the shadow under the trees.
2. Apply more modelling to the sheep.
3. Apply darker tones sparingly to the foreground stones.

Top tip: The front left sheep was increased in size, whereas the front-facing sheep at the back was decreased in size. If you need to match colour, remember that acrylic marginally darkens as it dries so mix a slightly lighter colour and it will dry to match the initial one.

Step 6

Summer Afternoon, acrylic on watercolour paper, (30x40cm)

1. Add more foliage to the right-hand tree.
2. Add more foliage at the lower edge between the main two trees.

Top tips:

1. Using this blocking-in method, you can continue to modify the image for as long as you wish, until the optimum result is achieved.
2. The method promotes a harmonious whole, as each new application of paint can be seen in relation to all the other parts of the image.
3. Colours can be repeated throughout the image, linking one part of the image to another.
4. As this image is on watercolour paper, it would need to be framed as a watercolour, with a mount, glass and frame.

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Find out more about Jackie by visiting her website www.jackiegarner.co.uk and read her blog at garnerwildlifeart.wordpress.com