2018-09-03 Laurelhurst Park, summer

2018-09-03 Laurelhurst Park, summer, 11in x 14in, gouache on cold pressed watercolor paper

I created a blow-by-blow account of the painting process of this one:

2018-08-30 orange lake light with flat size 1 watercolor brush

Step 1, Day 1: The paper size is bigger than I want the actual painting to be, so I draw out the boundaries (11″ x 14″) with a graphite pencil. Then I add an underwash of the orange I have in my stash, Windsor & Newton Designers’ Gouache Orange Lake Light, using my largest flat brush, a Princeton size 1 watercolor brush.


2018-08-31 (1) sketch with 2B graphite lead

Step 2, Day 2: I give the paint a day to dry, then sketch out the painting.  My reference photo:


2018-08-31 (2) burnt sienna, ultramarine blue with round size 6 stiff synthetic brush

Step 3: I mix Windsor & Newton Designers’ Gouache Burnt Sienna and M. Graham & Co. Artists’ Gouache Ultramarine Blue, and define the darkest darks.  I use a Blick Studio size 6 synthetic brush, which I use for the remainder of the steps.


2018-08-31 (3) yellow ochre, ultramarine blue

Step 4: Greenery darks: Windsor & Newton Designers’ Gouache Yellow Ochre + ultramarine blue. Then it’s time to allow the paint to dry and set.


2018-09-01 (1) lemon yellow, yellow ochre, ultramarine blue

Step 5, Day 3: I create more greens in the lighter value range, using various mixtures of Windsor & Newton Designers’ Gouache Lemon Yellow, plus yellow ochre (lemon yellow is too light for me, but it’s what I have in my stash), and ultramarine blue.  As you can see, the yellow ochre + ultramarine I laid down yesterday lightened after it dried.


2018-09-01 (2) burnt sienna, spectrum red, ultramarine blue

Step 6: I define mid-dark browns on the ground with burnt sienna + Windsor & Newton Designers’ Gouache Spectrum Red (Windsor & Newton burnt sienna was too bright and orangey), deepening the value and toning down the color saturation level with ultramarine blue.


2018-09-01 (3) burnt sienna, lemon yellow, yellow ochre, ultramarine blue, titanium white

Step 7: I mix in Da Vinci Permanent Artists’ White (Titanium) with the above two steps’ colors in various combinations (based on what I see in the reference photo) for the lightest value areas.  Then it’s time to let the paint really dry.


2018-09-02 (1) titanium white, ultramarine blue

Step 8, Day 4: It’s time to focus more on the lightest areas of the painting.  I add in a very, very light blue (titanium white + ultramarine) for the sky and sky keyholes.


2018-09-02 (2) titanium white, yellow ochre

Step 9: Then I use titanium white + yellow ochre for keyholes closer to the ground.


2018-09-02 (3) burnt sienna, spectrum red, ultramarine blue, titanium white

Step 10: Back to the ground where there is dirt rather than grass, I use different mixtures of titanium white + burnt sienna + spectrum red + ultramarine blue.  I wasn’t happy with how blue the path looked from Step 7, so I try to make it more reddish orange.  Then it’s time to allow it to dry again.


2018-09-03 (1) sienna brown, ultramarine blue

Step 11, Day 5: I revisit the shadows with sienna brown + ultramarine blue.


2018-09-02 (5) yellow ochre, ultramarine blue (followed by titanium white, yellow ochre for final step)

Step 12: I use various mixtures of yellow ochre and ultramarine to enhance the mid-value greens.


2018-09-03 Laurelhurst Park, summer, 11in x 14in, gouache on cold pressed watercolor paper

Step 13: I finalize the painting by adding more dabs of light in the background with yellow ochre + titanium white.

A note about the paints: I’m using what I have available at present, but the next time I get more art supplies I will probably get a different yellow – more of a “medium” yellow, and possibly  add a cool red.


Slideshow of process:

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