124 Intermediate | TECHNIQUES
PUTTING IT INTO PRACTICE
The calm, peaceful mood of this scene is conveyed
in a few stages, taking note of the three main areas
of light, mid, and dark tone. Glazing is used to add
depth to the water and to warm the foreground.
2
Medium tones
The lit green
mountain and the
shoreline are part of
the medium value, so
work on these at the
same time to make
sure that the tonal
relationship with the
water and distant
mountains is correct.
1
Establish
lightest tone
Simplify the scene
into areas of light,
mid, and dark tone.
Lay a single wash for
the lightest areas of
the distant mountains,
becoming slightly
darker toward the
foreground water.
Altering layers
Before applying a glaze, consider its effect on the dried
wash underneath, and how that will modify the feel of
your painting. A glaze can be used to enhance aerial
perspective; a cool glaze helps a background recede,
whereas a warm glaze makes it advance. Use glazes to
modify shadows or add color to a monochrome sketch.
Glaze layers build darker tone
Modifying color
Change the underlying color
with a transparent glaze in a
different hue to create optical
mixes, such as purple where red
and blue meet, or orange where
yellow and red cross. You can
also use warm or cool glazes
to alter color temperature.
Modifying tone
Build tones from light to dark
by layering thin glazes on top
of each other. The subtle effect
can be used over a large area,
such as a sea or sky, and will
give a light, transparent feel
with modulations of tone.
Selection of hake brushes
Selection of soft-hair mop
and round brushes
11 x 14
1
/2 in (28 x 36 cm)
cold press 140 lb (300 gsm)
watercolor paper
You will need
Azo yellow
Phthalo blue
Alizarin
crimson
Burnt umber
Cadmium
orange
Payne’s gray
Cobalt blue
Cobalt green
Cadmium red
Ivory black
Cerulean blue
Quinacridone
magenta
Chinese white
Cadmium
yellow
Dioxazine
violet
Ultramarine
blue
Cobalt teal
Lakeside view
Glazing
APPLYING TRANSPARENT LAYERS
This useful technique simply involves
laying one thin wash, or glaze, of color over
another dry layer of paint, either to build
colors from light to dark, or to interact
with the underlying color to create a
color mix or alter color temperature.
Use transparent glazes to adjust large
areas of tone across a landscape, or over
small pockets of local color.
Blue is warmed by red glaze
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125 Glazing
3
Assess the tones
After blocking in the dark trees and the
water reections, assess your painting. Here,
the foreground shoreline needs to be warmer
and the near water needs to be darker.
4
Darker glaze
Glazing is the simplest way to modify
these areas. Apply a deeper blue glaze to
darken the foreground water, taking the glaze
over the shadow areas to unite each element.
5
Warm glaze
To help the foreground advance, apply a
warm orange glaze over the base blue and
add a light magenta glaze over the trees to
warm the middle ground against the cool sky.
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Layering paint
See pp.58–61
Oval shapes in paint of a
light consistency have been
layered over one another
to create a scalelike texture.
Using golden hues gives the
impression of warm light.
Using masking uid
See pp.100–101
The handle of a paintbrush
was used to apply masking
uid in a thick enough
layer to ensure a uniform,
crisp-edged shape was left
at each white highlight.
Repetition
See pp.108–109
Repeating shapes and
colors gives the painting
a graphic look, while quieter
areas of block tone in the
background contrast with the
detailed pattern on the snake.
Artist Eleanor Hardiman
Title In the Grass
Paper 22 x 30 in (56 x 76 cm) cold press
200 lb (425 gsm) watercolor paper
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