Begin by sketching out the main forms with a 2B pencil, using the box technique to find the boat shapes and then taking out the guidelines with a putty rubber.

For the underpainting work top to bottom, leaving white paper for the highlights on rooftops and water.

This is essentially one, wet-in-wet wash, starting with raw sienna, then adding a little permanent rose and cobalt blue.

While the wash is wet, add some ripples in the foreground to suggest the eddying current, using a thicker mix of the same colours.

When everything is dry, develop the background of trees and buildings.

Use raw sienna, light red and cobalt blue, carefully noting the tonal contrast of buildings and rooftops against the trees and softening the edges of the trees nearer the sun on the left.

Add a few windows to buildings to suggest structure, maintaining soft edges.

Working background to foreground, start adding the boats.

Note that the distant vessels are pale in tone, the details minimal and reflections blurred by the light on the water.

Moving forward, the next vessels are darker. Wash these in in with permanent magenta, ultramarine blue and a little burnt sienna for the darks.

Add the reflections while the waterline is wet, using a mix of raw umber, viridian and permanent magenta.

The foreground boats and their reflections come next, ensuring the tones are strong enough to bring them forward and push the distance back.

Carefully draw the structures with a pointed brush, working wet-in-wet to create the deep shadows where the dark blue boat sits behind the yellow one.

Use ultramarine blue, light red and burnt sienna for the main shapes, with a touch of vermilion and blue for the roof on the left wheelhouse.

The finished painting

High Tide, Mevagissey, watercolour on Saunders Waterford High White Rough, 140lb (300gsm), (35.5x25.5cm)

For the hull on the left use cadmium yellow, with burnt sienna added for the shadows.

Paint the floats with vermilion and ultramarine, taking care to leave any highlights as white paper.

While the waterlines of both vessels are still damp, paint the reflections with the same mix used for the boats behind them.

Finally, add details such as mooring ropes and a darker wash of blue grey across the foreground water to suggest the undulating surface.

FOLLOW PAUL TO PAINT SUNLIT DAFFODILS IN WATERCOLOUR

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To see further examples of Paul’s work, details of his painting courses, holidays and his merchandise, please visit his website at www.paulweaverart.co.uk.

This demonstration is taken from the May 2021 issue of The Artist. Enjoy endless inspiration with access to past and present issues of both The Artist and Leisure Painter magazines, plus exclusive video demos, tutorials and more, with our Studio Membership! Discover how you can join today.