I created a blow-by-blow account of the painting process of this one:
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.
Step 2, Day 2: I give the paint a day to dry, then sketch out the painting. My reference photo:
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.
Step 4: Greenery darks: Windsor & Newton Designers’ Gouache Yellow Ochre + ultramarine blue. Then it’s time to allow the paint to dry and set.
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.
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.
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.
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.
Step 9: Then I use titanium white + yellow ochre for keyholes closer to the ground.
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.
Step 11, Day 5: I revisit the shadows with sienna brown + ultramarine blue.
Step 12: I use various mixtures of yellow ochre and ultramarine to enhance the mid-value greens.
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: