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First published in hardback in 1998 by
HarperCollins Publishers
77-85 Fulham Palace Road
Hammersmith
London W6 8JB

The HarperCollins website address is

www.fireandwater.com

Collins is a registered trademark of

HarperCollinsPublishers Limited

This edition first published in paperback in 2001

07 06 05 04 03 O02 O1
So 7 O ss 4 sy 2

© Ron Ranson, 1998

Ron Ranson asserts the moral right to be identified

as the author of this work.

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted, in
any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without the prior
written permission of the publishers.

A catalogue record for this book is available from the

British Library

Project editor: Caroline Churton

Editor: Diana Vowles
Designer: Clare Baggaley
Photographer: Laura Wickenden

A video, Watercolour Landscapes from Photographs, is

available from APV Films, 6 Alexandra Square, Chipping
Norton, Oxfordshire OX7 SHL

Cc
The Prism image projector, produced by Artograph, shown
on p. 15 is available from Daler-Rowney Ltd, P. O. Box 10,
Bracknell, Berkshire RG12 4ST; the Kopykake overhead
projector shown on p. 15 is available from Teaching Art,
P. O. Box 50, Westborough, Newark, Nottinghamshire
NG23 5H].

ISBN 0 00 712166 0

Set in Plantin and Franklin Gothic

Colour origination by Colourscan, Singapore
Printed in China by Imago

SSHOSHOTHSSHHRHOHSTOHHSOHSHTHEHHHESESE
SEH HSEHOTETHHREH ASHES

PAGE 1 Afternoon Sunshine, 30 x 40.5 cm (12 x 16 in)

PAGES 2 and 3 Greek Beach, 30 x 40.5 cm (12 x 16 in)

esa DEDICATION
This book is dedicated to my friend
Dr Don Fisher, a man of great humour.
Not content with finding my lost hake
brush in the middle of the Oregon
wilderness, he went on to find for me a
wife, my lovely Darlis.

ACKNOWLEDGEMENTS
First I must acknowledge the immense help and patience of
my assistant Ann Mills in the production of this book. My
dear wife Darlis has typed every word of copy and caption,
and many of the photographs have been lent by Dr Don
Fisher of Oregon. For all these things, I am extremely grateful.
Projects: Jrees and
Woodland page 64

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Projects: Figures 1n the

Landscape page 94
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One of the most are offered by working with this extra Tumbling Water,
controversial piece of equipment. I hope that the Oregon,
topics in painting illustrations used in this book will 35.5 x 28 cm
is whether or not convince you of the truth of my (14 x 11 in)
it is acceptable conviction that photographs can be The aim in this
to work from a great boon to the artist. picture of an
On ak photographs. Oregon river was
* This subject EXTRA SKILLS to create a feeling
seems to Perhaps it will help my case if we of harmony, and
generate more words in art magazines take a quick look at some of the this was achieved
than any other, cropping up time and statements that are made against the by keeping all the
time again in editorials, letters and use of the camera in watercolour colours to one side
articles. Even in art societies it is a painting: ‘It’s cheating, Irs a short of the colour
matter of constant debate. cut, avoiding the need to learn wheel. The main
drawing and sketching.’ ‘It’s taking an object of interest 1s
USING NEW TOOLS easy option.’ the white water,
It seems to me that there is often an None of these is true: to bring a which Ive
element of hypocrisy present in the scene in a photograph to life in restricted to one
‘against’ lobby. Doesn’t it seem watercolour needs all the skill of fall rather than
strange that in other fields of art such which an artist is capable. In fact, the two that
as music this kind of controversy there is an extra skill involved, which existed. I've used
appears mot to exist? Phe use of a is of course using your camera with strong directional
computer in the composition of competence — employing all your strokes of the hake
music is apparently quite acceptable, design skills, but this time through a to give more
for example. What the composer has viewfinder. Any serious photographer movement. The
done in addition to using his or her will tell you that photography is an colour of the left-
musical skills is to take the trouble art in its own right and of course this hand foreground 1s
to learn the use of new technology is true, but it can also be used as a echoed in the
mi the search for excellence: The stage in the process of watercolour background trees,
situation is similar in art. The camera painting. Nevertheless, I do still feel introducing a
ean be employed as an extra tool, a that to produce the best paintings the note of unity into
tool like any other, the best use of artist must have been out there in all the design.
which has to be learned. What the weather, surrounded by
‘against’ lobby seem to forget is that the atmosphere and even
you have first to become a competent the’ smells of a location,
painter, skilled in all areas of your before he or she can
art, before you can use photography exploit this extra and
successfully as a tool. The purpose controversial tool.
of this book is to look at the whole AS @ teacher, Limjshown
subject honestly and to illustrate thousands of photographs
some of the exciting possibilities that €ach year, 7), per centor

6 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Panes
 Another example might be a wet,
misty day in the mountains. It would
be extremely difficult to paint in
which are badly composed and watercolour in these conditions, but
uninspiring. But the worst results of equipped with a good photographic
painting from photographs come record you will be able to produce an
from the artist who attempts an exact exciting result at a later date. You can
copy of the photograph complete in also photograph some of the more
every detail, warts and all, with little transient weather effects, such asa
or no sign of the artist’s own sunset that may last only a few
personality and flair. minutes or a rainbow that could be
gone in only seconds.
THE CAMERA AS AN AID I am sure the stalwarts among
Let us look now at some examples of you will feel that any additional
where the camera is most helpful. difficulties are a necessary part of
One is a crowded street scene in a painting, but to be realistic the vast
city — a lively and inspiring subject, majority of artists are simply not
but it is almost impossible for most always able to paint on location.
of us to set up our easels on a busy Among my own friends who are
pavement or in the middle of the
street. However, a quick sketch and
a few good photographs will be
invaluable to give you all the
information to form your picture
and interpret the scene in your own
style back in the studio.

8 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Sun on Snow, Oregon, foreground stream. I reduced the mass of
30 x 40.5 cm (12 x 16 in) trees on the left to improve the balance
This watercolour is based on a of the scene and introduced the figure
photograph I took in Oregon, USA; with the dog to provide a focal point.
Much of the snow is untouched white
Before starting to paint I made a tonal
paper. I employed only the hake and the
sketch (opposite) in which much of the
rigger in this painting, using the latter
surface of the snow has been smoothed
for the figure, grasses and twigs.
out and more prominence given to the

RODUCTIONS
ue: Fn aa
 professional and respected artists relationship between artist, subject
some still prefer to work outside all and viewer in which the viewer has to
the time, but most have discovered exert his or her own thought and
the advantages of the camera after imagination to complete the circle.
many years of working in the field. It can be seen, then, that using a
The paintings of both groups are as camera is no easy option: first you
sought after as ever and I would defy must learn both its potential and its
anyone to know which were done limitations, and once you have taken
on site and which were based on a well-composed photograph you will
photographic reference. I still love to need additional skills to interpret it in
work on site, but I see no need to a professional way.
apologize for using a camera at those
times when it is most valuable. PRACTICAL PROJECTS
To help you make a start at painting
PHOTOGRAPHS AS INSPIRATION from photographs I have included a
Shortly before writing this book I number of projects in the book. Each
returned from a round-the-world features three photographs that you
painting and teaching trip, during can use as the basis for paintings.You
which nearly all my on-site paintings will find my own interpretations of
were sold. However, I brought back these photographs in the Gallery at
hundreds of photographs from places the end of the book.
asndiverse as California, Australia,
New Zealand and Thailand, many MAXIMIZING THE USE OF THE
of subjects I had already painted on CAMERA
site. Looking at the photographs not My reason for writing this book is to
only brought back with clarity the help you avoid the drawbacks of
atmosphere of the various locations using the camera in watercolour and
but also inspired me to produce more maximize its benefits to the full. The
watercolours as a record of my trip — key to the subject is the realization
many of which appear in this book. that the photograph is merely a
My own loose and impressionistic reference: you must interpret it to
style is well suited to interpreting change the scene from one that
photographs as the painting will leave would be static and flat as a painting
a certain amount to the imagination to one that is filled with the
of the viewer — something a qualities that attracted
photograph cannot do. It you to the subject in the
isthe entirety of the first place. This exercise
information within a requires sensitivity,
photograph that can give a imagination and skill, as well
flat, static appearance to as the understanding that
a painting, and it is you have a demanding and
the job of the artist to challenging task ahead. With
bring back the the help of this book, accept
excitement and the challenge and add a
mystery of a subject whole new dimension to your
and to create a view of watercolour painting.

10 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 Porlock Weir, in the group of boats on the
25.5 x 35.5 cm (10 x 14 in) left. I felt that the house on
The photograph, while on the right edge was an
the whole satisfactory, 1s unnecessary distraction. Note
slightly weight-heavy on the variety of colour in the
the right-hand side and right-hand foreground and
I corrected this in the the use of dry brush for the
painting by putting in a pebbles at the edge of the
fairly rich cloud formation water. I’ve simplified and
top left to provide balance. counterchanged some of
Ive tried to repeat the the background buildings
touches of colour throughout and used gouache to obtain
— even the red of the gas the white masts. I’ve also
cylinder on the deck of the added a couple offigures to
foreground boat 1s repeated complete this friendly scene.

INTRODUCTION 11
EQUIPMENT
= ee iE i aS EE

The equipment you will require to paint it may be best to draw first on to tracing
watercolours from photographs need not paper, scribble on the back with soft
be pricy. Simplest of all is to have an pencil, then transfer the image to your
inexpensive camera which will supply you watercolour paper to avoid spoiling the
with colour prints from which to make a surface of your paper by rubbing out
tonal sketch. You can then draw the image mistakes. At the other end of the scale;
on to watercolour paper before beginning you can use some of the specialized
to paint. If youre employing this method equipment shown in this chapter.

My sketching
materials include
soft pencils,
graphite sticks,
graphite pencils
and sticks of
charcoal. A ring-
bound sketchbook
and a putty
eraser complete
the kit.

SKETCHING MATERIALS charcoal are an alternative, but they

The pencils you use for making a are fragile and smudge easily. Make
tonal sketch must be soft — from 2B your sketch on a pad of ordinary
to 6B. Flat graphite sticks and solid cartridge paper — watercolour paper
graphite pencils are very good as they is not suitable, unless you want to do
will prohibit you from putting in too your tonal sketches in watercolour as
much unnecessary detail and will also I sometimes do, using Burnt Umber
produce areas of tone more quickly, or Payne’s Grey. A putty rubber will
as you can use the sides. Sticks of also be useful to pick out the whites.

12 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 Here you can see
my four brushes —
the 38 mm (1% in)
hake, the 25 mm
(1 in) flat, the
No. 3 rigger and
the French
polisher’s mop —
and my seven
favourite colours.
These are Lemon
Yellow, Raw
Stenna, Burnt
Umber, Crimson
Alizarin, Light
Red, French
Ultramarine and
Payne’s Grey.

WATERCOLOUR MATERIALS French polisher’s mop — big brushes

While you can use whichever brushes that prevent me overworking.
suit you, I feel large brushes are best The range of colours is a matter of
as they prevent the precise copying of choice. I prefer to work from a
photographs which has given the limited palette, using large tubes of
process a bad name. The only small paint and a large plastic tray to mix
brush I use is the rigger, which is them on. Most of my painting is
great for fine details. Everything else done on pads of Bockingford paper
is done with a flat, a hake and a or blocks of Arches Cold Pressed.

EQUIPMENT 13 |
 A corner of
my studio,
showing some of
my photographic
equipment and
my slide projector.

CAMERAS TRANSFERRING THE IMAGE

My view is that a camera should be ‘Transparencies are usually on 35mm
simple to use and light to carry. The film and so they will need to be
one I use most is a single lens reflex enlarged. One way of doing this is to
(SLR) camera. Most are now put them in a projector focused on a
automatic and do nearly all the work light wall in a darkened room. The
for you, except of course for the image can then be drawn on to white
composing — of which more later. I paper. The size of the enlargement
also have two extra lenses — a wide- will depend upon the distance of the
angle lens which reduces scale and projector from the wall. Alternatively,
widens the field of vision and a zoom you can now have excellent prints
lens to bring distant objects nearer. made from your transparencies by
You may also find a tripod useful for laser copier, a service available from
low light levels when the shutter most local printers and libraries.
speed drops below an acceptable
figure for hand-held photography. PRINTS
You do not need to spend a lot of ‘The simplest and best method of
money on a camera — most produce using a print is to hold it in your left
quite acceptable results, and a good hand while you draw with your right.
photograph depends more upon the This isn’t always as easy as it sounds,
artistry of the photographer than the especially if the scene is a complex
quality of the equipment. one; whatever else you’re going to do

14 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

with the scene, your drawing is
obviously going to be an enlarged
version of it, incorporating all your
compositional changes.
The traditional way to establish
the correct proportions is to place
your photograph in a corner of the
paper, joining the opposite corner
with a diagonal line and extending
this line onto the paper. The
proportions of the enlargement will
be correct if the corner is placed at
any point along the diagonal line.
Another method is to photocopy
the print, enlarging it to the required watercolour paper with a ballpoint The Prism
size. This can be used as a guide to pen. This will save making too many horizontal image
making your drawing on cartridge alterations on the watercolour paper. projector, which
paper. You'll then need a sheet of A third alternative is to use one of can enlarge the
transfer paper, which can be bought the projectors available which will original x 20.
at any art shop. This is thin tissue, enlarge the print for you.
coated on one side with graphite. However, with all these aids there
Failing this, you could simply rub comes the temptation to produce
soft pencil over the back of your tight, overworked drawings which
drawing, then trace through onto the could then reflect in your finished
painting, especially in such subjects
as flowers, foliage and skies. Like the
photographs, such equipment must
be your servant and not your master.
Try constantly to improve your skills
in freehand drawing and as you
progress you may find you only need :
to use special equipment as a time- Lg
saver on occasions when you are
producing really complex subjects.
Never use equipment of this kind as
a crutch in order to avoid learning
to draw. After all, virtually every
photograph will need considerable
changes made to it if you’re to
produce a satisfactory painting. The Kopykake
overhead projector
for prints.
The traditional way of scaling up a
photograph is to put it in one corner of
the paper and then draw a diagonal
line to the opposite corner.

“EQUIPMENT 15
 The photographs you may be a tree, a gate, or even a Waterfall Near
Use lor rererence in your gatepost. Look through your Glencoe,
watercolour paintings viewfinder and make sure that you (detail)
need to be the best you have all three planes in view; if you This loose
can obtain, so in this havent, don tpress the shumer interpretation 1s
chapter we are going to For example, you might be from a photograph
look at ways to improve considering a beach scene with two I took in Glencoe.
your photography. It’s a boats of similar size. What you need It is painted very
sad fact that many photographs taken to avoid here is taking the shot with much wet-into-
today, even with all the technical the boats at either side of your wet, yet at the
help available from modern cameras, photograph. Instead, move around same time I tried
are simply no use at all to paint until your viewfinder shows you a to put in as much
from. The missing ingredient is picture in which one boat dominates rich, powerful
composition. Even highly skilled in the foreground (the scene could be colour as I could —
watercolourists who regularly practise even more interesting if the boats hence the almost
the principles of composition in their overlap). If you’re photographing a purple rocks in the
paintings don’t seem to be able to wood, rather than just taking a foreground. There
relate them to photography, while in general view, find a position where is a very strong
any twenty prints shown to me by my you have one tree, perhaps of a but simple pattern
students, perhaps only two or three different species from the mass,” here, with the
will be suitable for use as reference prominent in the foreground. maximum contrast
material. A good, well-composed being confined to
photograph will make you want to PROVIDING A LEAD-IN the foreground
reach for your. brushes. Try to find a feature that will lead the water and rocks.
viewer’s eye into your photograph — a
THE BASIC RULES feotpathy a cart track Gra sircamm
Perhaps the most basic rule is simply Look for interesting close-ups, and
this: always try to have three planes remember that you don’t always need
in your photograph — foreground, bright sunshine; misty and cloudy
middle distance and far distance. conditions can sometimes be more
Look at the same view from different interesting. Try the view both
angles, as what may look breathtaking horizontally and vertically. Practise
seem irom the top of.g hill without a film in your
may be boring as a print. camera, concentrating
While the middle and far entirely on composing
distance are usually in what you see through
evidence; a suitable your viewfinder. An hour
foreground object is often or two spent in this way
missing. Be patient and will be invaluable, and
move around until you find you'll soon begin to
one that satisfies you — it understand the difference

16 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 between a good composition and a of interest, with too many objects all
poor one. vying for your attention.
No matter how much time you A good way to assess the prints is
take over your photographs, chances to take two L-shaped pieces of paper,
are that once you have had your overlap them to make a picture shape
prints processed you will need to and then move them around until
do some careful editing, Look at you are focusing on the heart of the
each print critically, considering the scene. You will probably find that
tonal values, the depth of field, and you are looking at the very thing
whether there are conflicting centres that attracted you to that particular
view in the first place, Ouireroiten,
a photograph with which you are
initially disappointed will look far
more interesting once all the clutter
is removed; a horizontal may become
a vertical, or a boat that was facing
out of the photograph may face
inwards with judicial manipulation of
your L-shapes.
Many of the skills involved in
photography and painting are so
closely linked as to be interchangeable.
Becoming a good photographer will
improve your painting, and vice
versa. So much depends on good
design and composition — and this
principle applies equally to both
photography and painting.

A Here the main object of interest, the

dovecote, 1s right in the centre — possibly
one of the worst compositional faults.
This stricture applies to any focus of
interest, whether it be a boat, house,
bridge, person or animal.

P In this photograph the dovecote has

been moved to one side, immediately
making the composition more satisfying.

18 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 <4 This is a conventional
view of Chepstow Castle. It
could be used as the basis for
a painting, but would need a
lot of preparatory work in
the tonal sketch. The sky and
the river are much too bland,
and the whole scene is
lacking in drama.

© Another approach is
shown here, using a
foreground boat and bank.
This view hasn’t quite
worked as a composition,
however, because the boat
and the castle compete with
each other.

<4 This photograph

introduces a vertical element
into the picture, linking the
two banks of the river, but
the foreground foliage is too
dominant, blocking the
entrance into the picture.

& This view of the castle ts

very satisfying. The strong
vertical element of the tree in
the foreground balances the
castle wall and takes the eye
directly towards 1t.

COMPOSING YOUR PHOTOGRAPHS 19

 Chepstow Castle,
40.5 x 30 cm
(16 x 12 in)
In the painting
<4 Finally, I I aimed to get a
decided to use much greater
this portrait variation in
photograph as the colour than was
basis for the apparent in the
painting. I felt photograph. I
that this framing lightened the river
of the shot made to make the tonal
the massive bulk value more
of the castle look distinct from that
more dramatic. of the foreground
bank and warmed
up the scene with
pinks and mauves.
I also painted in a
more interesting
sky, with the
blue interspersed
with clouds.

P Ifelt that the photograph

was bottom-heavy, so in the
tonal sketch I discarded part
of the foreground and
enlarged the sky. I also
moved the mass of the trees
slightly to the right to avoid
masking the castle.

20 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

COMPOSING YOUR PHOTOGRAPHS 21
 . SEO TEA eg cfFLD
a ETE ERER acre eet TN

eer Peneete dic eg.

Se ee nies

If you have followed the require removal or opening up — after Grounded,

advice in the previous all, you don’t want to fence your 35.5 x 28 cm
chapter you will now be viewer out! The composition may (14 x 11 in)
producing photographs be vastly improved by adding a For the last
that are reasonably well foreground shadow that is not on the 13 years I’ve
balanced, containing a main photograph; on the other hand some been running
object of interest and shadows may need to be lightened workshops in this
encompassing foreground, and made more transparent. Always tiny lobster-fishing
middle distance and far distance. So avoid placing the horizon in the village on the
at least now you have a good starting centre of your painting, as this coast of Maine.
point — and you should be itching to would cut the picture in half. Think This harbour
paint, to capture those vital elements carefully too about the positioning of scene has one of
that stopped you in your tracks in the the centre of interest, which should the lobster boats
first place. Before you can convert be a different distance from each as its main object
the photograph into a painting of edge of the painting. of interest, so this
lasting worth, however, there is a lot has been placed
more work to do. THE PRINCIPLES OF DESIGN at a different
More specific rules for composition distance from each
COMPOSING YOUR PAINTING can be defined by considering the edge of the page.
The previous chapter discussed the principles of design. These are not It has been made
composition of your photograph, but complicated and in fact most are to stand out by
even the most perfectly composed just common sense, but they will darkening the
photograph will not translate directly improve your work dramatically; area immediately
into a well-composed painting. your knowledge or ignorance of them around it. You will
Composing through a viewfinder and will be evidenced in every painting also notice that
composing a finished painting are by you produce. the boat 1s not
the very nature of things slightly There are only eight principles challenged by
different exercises. of design to memorize, and they anything else in
For example, although your are: contrast, dominance, unity, the picture that
photograph will have a main object graduation, balance, harmony, might distract the
of interest, it may be necessary to variation and alternation. It is easy viewer's eve.
change a path, a road, or the sweep enough to learn this list by heart —
of a river to take the viewer’s eye into the difficult bit is applying
the picture and on to the centre of it to each painting. It is =
interest. There may be a boat or a not necessarily possible ca
figure facing out of the picture to apply every rule to
which will need to be reversed or every painting, but the
moved to avoid the viewer’s eye being more you are able to
taken out of the picture rather than put into practice the
captured within it. Foreground walls better your painting
or fences in your photograph may will be.

22 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 CONTRAST
Contrast is an abrupt change from one state to another: warm to cool, ight to
dark, hard to soft. When you are working with photographs you will often find
that you have to increase the contrast in the areas to which you want to attract
the eye and decrease it in less important areas.

In the photograph the patch of white snow makes a The contrast between snow and trees was
good contrast with the dark trees, and the hard sufficiently strong for me to be able to lighten the
outline of the mountain contrasts with the softer _ green somewhat in the watercolour. However, I
texture of the trees and grass. Even the white dead have darkened some of the rock face to provide
trees provide contrast. stronger contrast with the white of the snow.

I took this photograph because I wanted to record When it came to painting the scene I decided to
the dark, clean-edged foliage against the soft white lighten the foliage on the right and on the side of
foam of the falls. The colour contrast is good, too, the falls to the left to give more harmony of colour,
with the light grass showing up well against the but there is still plenty of contrast between the
dark twigs and leaves. white foam and the surrounding vegetation.

24 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

DOMINANCE
My feeling is that this is probably the most important principl
e of all. What it means is that in any
painting, one object must be more important than any other. To achieve
this you can make that
object larger, brighter, the area of greatest contrast, or even a combina
tion of these elements. If a
dominant feature is not evident in your photograph you must ensure that it is
provided in your
tonal sketch. For example, if you have three mountain peaks or three clouds
of the same size, you
will need to make some changes to give one dominance.

ree — ere

This photograph was taken at an angle that gave In the painting I added a small boat which corrects
the foreground tree dominance over the mountains. the trmbalance of the photograph. The sweep of the
In fact, the tree is perhaps too dominant, leaving beach and the rocks lead the viewer’s eye into the
the rest of the scene as just a backdrop. picture and to the boat.

I needed to change the design little for the painting

There can be no doubt at all about the dominant
other than to broaden the stretch of water showing
object here — the boat is a manmade object, which
behind the boat in order to allow more depth of
always draws the eve. The rest of the picture acts
for the boat. field into the scene.
simply as a background

aoe
."
' COMPOSITION AND DESIG
a 3 at oy eee m-
-.
 UNITY
Unity is an interlocking of all the elements in a painting. While your
photograph may show a collection of disparate objects, as is often the nature
of things, your job as an artist is to unite these elements in your tonal sketch
before you start your painting. Overlapping is useful here, or you could echo
shapes or colours. Have a close look at the illustrations here and see how I
have used this principle.

This was an attractive scene to photograph but tt In the painting I created unity by removing some
had too many scattered objects in it — the viewer’s of the objects and concentrating on a single boat.
eye 1s distracted by disparate shapes and colours. The sweep of the beach is a good unifying factor, as
is the echoing of the yellow of the life jacket
elsewhere in the picture.

In this photograph there are plenty of soft brown Repeating the whites worked well here, and I also
and ochre colours in the grasses, foliage and house included white in the water for emphasis. The mast
roofs to provide unity of colour. The white of the is a useful unifying factor linking earth to sky. The
small sailing boat 1s also echoed in the white of colours in the roofs are echoed in the foreground
the row of houses. grasses, as 1s the sky colour in the water.

26 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

GRADUATION
This technique is employed to avoid boredom in a flat area. It is the gradual change from one state
to another: light to dark, or cool to warm. Photographs often lack this quality, especially in the
foreground, and in this case it is probably better to ignore what is in the photograph and put in
your own graduated wash. An area where this technique is often needed is in the portrayal of a
row of buildings, where making changes in the wall surfaces will avoid a flat, dull appearance.

set i ‘
SORE aaa ges

Here the photograph shows a rather solid bank of In the painting I have graduated the greens in the
flat greens in the background trees and the expanse _ trees and the browns and greys in the water to add
of water is somewhat boring. interest to what could otherwise be a dull painting.

cool
the In the painting I’ve graduated the greens from
Here the subtle tones of the mountains of ting thas im
below to warm as they come forward, repea
English Lake District reflected in the water in
the reflections. You will also notice graduation
make a pleasing photograph, but if they were as well as in
lack tone in the trees from dark to light,
translated directly into a painting it would
the colours of the foreshore.
depth and interest. _—— £ : - LTS SIR,
a RES)
as

COMPOSITION AND DESIGN 27)

St We:
 BALANCE
Balance is an important element in a composition. Any large object in a scene
has a tendency to unbalance it, but this can be corrected by moving it nearer to
the centre and balancing it with a smaller object further away on the other side.
Think of a seesaw; if you have a heavy weight on one side of the seesaw, it can
be balanced by a lighter weight further away from the centre. While you could
have equal weights on both sides, this would be far less interesting visually.

When I took this photograph I aimed to balance Nevertheless, the painting 1s about the rock, so I
the vertical bulk of the large rock just offshore have made this a more dominant feature by
with the horizontal expanse of sandy beach nearer contrasting it against a lighter sea and sky than
to the camera. appear in the photograph.

Here I framed the photograph so that the dark In the photograph the bush almost disappears into
Joliage of the foreground bush would balance the the beach, so I've corrected this by changing the
heavy shape of the promontory on the left-hand tone of the beach and contrasting the top of the
side of the picture. bush against the light water.

28 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

HARMONY
Harmonious colours are those that are adjacent to each other on the colour
wheel, such as orange
an d red on the warm side and blue and green on
the cool. Harmonious shapes are squares and
rectangles or circles and ovals. If these elements are lacking in your photogr
aph you will need to
create them in your finished painting.

Autumn colours often provide their own natural Distant woodland looks very effective when it 1s
harmony in a scene, and this 1s the case in the painted in a variety of soft, cool mauves, which
photograph here. The soft browns, rusts and ochres emphasize the warmth of the browns and oranges
of dying foliage blend harmoniously with the used in the foreground and give a feeling of depth
darker tones of the tree trunks. to the painting.

In estuary scenes like this the wet sand reflects the In the painting I have emphasized the existing
sky colour, giving its own sense of harmony to the harmony between sand and sky by using a very
restricted palette and applying the colour for the
scene. If the presence of brightly coloured boats
sand with directional brushstrokes to echo the
mars the effect, you can simply change their colour
in your painting. shape of the cloud.
on —_—--
fe oe

ss
sige
 VARIATION
Although repetition may be employed in a painting to great effect, it must be
used with variation to avoid monotony. Try to provide variety in repeated
shapes or colours. A uniform row of trees in a photograph can be modified in
the tonal sketch by varying their sizes, angles, and the distances between them.

In this photograph there is a good deal of repetition Although repetition is a useful aid in a painting, tt
in the waves and the shapes and colours of the must always be done with variation. Here the rocks
rocks. Copted exactly, this scene will not make a are more varied in colour, tone, size and spacing
successful painting. than in the photograph.

ALTERNATION
The principle of alternation is most usually applied to colour. It is the placing of intense colour to
alternate with neutrals, or warm colours with cool ones.

What attracted me to this scene was the reflections I accentuated the alternation somewhat in the
of the vegetation and sky in the water. In the painting, in which warm and cool colours have
photograph there already exists alternation of been alternated from top to bottom and from left to
warm and cool colours. right to avoid monotony.

30 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 APPLYING THE PRINCIPLES
It is neither practical nor necessary to include
every principle in every painting, but you
should habitually test each of your finished
paintings against the list of principles to make
sure you have not ignored them. It will take
time to absorb the principles so completely that
you will automatically incorporate them in your
painting, so you may find it useful initially to
have the list of principles pinned to your board
to jog your memory.
In my advanced classes I start by teaching
these basic principles, after which we criticize A Including overhanging foliage in the very front
the paintings brought along by each student, of a photograph is a classic way of adding interest
judging them strictly by the principles of and depth, but it does not necessarily translate
design. This operation is a real eye-opener for successfully into a painting. The view of the village
all involved and everyone can see ways in which 7s rather spoilt by the bushes blocking the nearest
their paintings could have been improved had part of tt, and they also distract the viewer’s
they applied the principles. From then on the attention from it. Consequently, this photograph
students’ work progresses in leaps and bounds needs some adjustment of composition before it will
as they learn to use this yardstick. work well as a painting.

Village on Kalymnos
28.5 x 39.5 cm
(1121/1 x 15+/2 in)
The centre of
interest 1s the
village, rendered
with contrasting
patches of white
and colour. I
graduated the hills
and sky. The eye is
taken into the
picture by the path
and kept inside it
by the tree on the
left, which 1s
balanced by strong
foreground colour
on the right.
Unity is provided
by repetition of
the pinks.

COMPOSITION AND DESIGN 32

“4 r : a
se SRE
f cz |
 ee

: waite EE,
f*teen.

Whether you are painting as if the sun had just risen: my Fjord in Lofoten
from photographs or from paintings improved 1,000 per cent.’ (detail)
life, your work begins long The stronger this pattern is the more This painting 1s
berore you pick tipla brush: arresting the painting will be, and the based on a
A major part of this vitally time to establish this pattern is in the photograph taken
important ‘thinking period’ tonal sketch. on a trip up the
is your tonal sketch. coast of Norway.
This is a message that I MAKING A TONAL SKETCH The far-distant
try to put over to my students at the If you are using pencil, get into the mountain ts Just
beginning of a course. They all agree habit of varying the amount of one thin wash, but
that this is the only sensible way. A pressure, producing different tones as I moved
couple of hours later, for some from each grade of pencil. Think of a forward in the
inexplicable reason they are ignoring scale from one to ten, with the pure picture I
the whole concept — even though they white of the paper being one and introduced more
know that no professional artist solid black being ten. Once you begin and more texture
would ever begin a painting without to paint, to achieve ten you will need and colour. The
first working out its tonal values in a almost pure paint with hardly any foreground rocks
tonal sketch. Once I have persuaded water‘at all, while one on the scale were produced by
my students to produce their tonal will remain untouched paper. Your scraping the paint
sketches I find them attempting to sketch pad does not need to be very with a piece of
put in every detail, having forgotten big as your tonal sketch should only credit card. There
tnay the object'ot the exercise is to be-about lO a7 Ss cm 463 an out is a mixture of
reduce the subject to a simple pattern it must be smooth cartridge paper. warm and cool
of lights and darks which probably Before you start on your first tonal colour in the
differs from the original view. sketch, spend some time doodling on right-hand
cheap paper with various pencils. As mountain which
TONAL VALUES with anything else, you need to be at adds to the general
Let us assume that you have never ease with your materials. Once you interest of the
before attempted a tonal sketch. The have accepted the concept of tonal painting.
first thing you need to understand is sketches and had a bit of practice you
that tone is simply the darkness or will find that you are enjoying them
lightness of a colour. Any painting, in their own right. Take half a dozen
no matter how colourful or subdued, photographs and do tonal sketches of
consists of various tones which form them, even if you are not going to
a basic pattern. Tony Couch, a well- take them any further.
known American painter whose work That is the accepted way of
I admire, has said, ‘I recall reading producing a tonal sketch,
and hearing about “tonal values” for but my own favourite
years without understanding how to method 1s a little
use them. When one day I discovered different. This uses
they are placed in a pattern, it was watercolour — either

32 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 This is a typical example of a tonal finger, using a piece of white paper as a
sketch done with a soft pencil. The soft mask. In the original photograph the
tone of the sky was put in by employing tone of the tree and the bridge were too
a smudging technique with the index similar and the river was dry.

Burnt Umber-or Payne’s Grey — on around anything as they are not only
scraps of watercolour paper. Like the unnecessary but have no place in a
pencil sketches, I keep them to a tonal sketch. Confine the white areas
maximumror 10i< 7)> cm (4 x 35in), of the tonal sketch to those parts of
and the aim is exactly the same. The the final painting that will be left as
only brushes I use are the hake and untouched white paper. Every other
the 25 mm (1 in) flat, perhaps area should have some tone on it.
bringing in the rigger for a figure. As tone is a darkness or lightness
Whichever method you use you of any colour, if you paint a red
must avoid putting in any detail house against a green tree and the
whatsoever, concentrating instead on two colours are similar in tone the
producing a pattern of lights and effect is flat. What is needed is to
darks in miniature. Don’t think of make the tree a darker green or the
the components of your subject as house a lighter red so that the
individual objects; see them only as painting will read tonally. Exaggerate
areas of tone. Don’t draw lines the darks and lights. Put two on your

34 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 This tonal sketch is
done in watercolour in Payne’s
Grey. Notice the different tones
obtained by using different strengths of
paint. The rocks were produced with a piece of
credit card while the wash was still damp.

scale against eight, or even one regard your tonal sketch as an

against ten. Remember that you are architect would his plan for a new
aiming to produce your subject as a building — it must be right!
pattern of lights and darks.
4. Failure to follow the tonal sketch
AVOIDING PROBLEMS in the final painting; keep the sketch
The most common problems pinned above your painting and refer
associated with tonal sketches include: to it constantly. This way you will
avoid producing a painting that is a
1. Not enough thought. A quote from weakened version of what was
the late Ed Whitney, one of America’s originally a strong design.
best-known teachers of watercolour,
is useful here: ‘Design like a tortoise; Once you are capable of producing
paint like a hare.’ good tonal sketches you will see a
marked improvement in your finished
2. Being in too much of a rush — painting. By learning to contrast
don’t neglect that valuable planning areas of tone you will produce
or thinking time before you make a paintings with more sparkle and
mark on the paper. excitement than you would ever have
thought possible.
3. Believing that it’s possible to solve
all the problems in the final painting;
In this photograph of Porlock Weir, the third boat Here I’ve darkened the left-hand hill to balance the
half out of the frame seemed awkward and boats and dropped the level of the beach behind the
superfluous. I also thought the hills were too flat. boats to counterchange them against each other.
The boats have also been moved slightly towards
the centre.

ee
ee

The two foreground boats compete for the viewer’s In the tonal sketch I removed the rowing boat and
attention in this misty scene in Maine. Also, the the middle-distance boats, adjusted the rocks and
rowing boat points out of the picture. added a distant yacht to help balance the picture.

36 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

In this Canadian scene the trees on the left were In the tonal sketch Pve increased the contrast
too dark, attracting the viewer’s attention too between trees and rocks, weakened the left-hand
much. I wanted the trees and rocks on the right to trees and added a moored boat to provide a main
be the dominant feature. object of interest. Notice how the foreground rocks
point to the boat, which in turn balances the trees
on the right.

In this Norwegian landscape the boathouse on the In the watercolour sketch P've counterchanged the
right is almost obscured by foliage. It is also dark boathouse to make it the main object of interest. I
have also given more depth to the picture by
in tone. The viewer’s interest is caught first by the
lightening and cooling the distant mountains.
boats and then the snowcapped mountains.

)
Seeee PES. ¥ ~ es
aes i li
ee e
<i ieee. Ae =e Ss are
 As I drive around the is intended to be simply a visual Low Tide on the
countryside I’m always on reminder of what the sky conditions Severn
the look-out for interesting were like. Often you may use only a 35.5 x 30 cm
cloud formations and section of the sky, perhaps providing (14 x 12 in)
different colour balance in your picture by making a In this Severn
combinations in the sky. dominant cloud provide weight on Estuary scene
I always try to have my the other side of the painting from a there is good
SE
camera with me, but feature in the landscape. contrast between
naturally the best skies appear when Although I have painted hundreds the soft clouds and
my camera has been left at home! of skies and can perfectly well the strong textural
Sky conditions and colours change so produce one out of my head when feel to the
quickly that they surely strengthen necessary, I find that looking at a foreground. One
the argument for using the camera as photograph out of the corner of my unifying factor 1s
a tool in watercolour painting. For eye keeps the sky more relevant and provided by the
example, you can photograph a authentic. However, anyone looking repetition of the
racing sky in wild conditions which at the photograph and the painting cloud colour in the
would flatten your easel in seconds, would probably not see any water; another 1s
or in pouring rain that would ruin resemblance between the two. the foreground tree
your painting. An important point to remember is that links the
It’s not necessary to look for that you don’t want your sky and earth to the sky.
perfect landscape conditions when foreground to compete, but rather
taking sky photographs because the complement each other. For instance,
landscape below will usually be too with a low, simple horizon you can
dark, as the camera’s light meter really go to town on producing wild,
will react to the light in the sky. chaotic skies, leaving the foreground
Conversely, in a landscape photograph completely uncluttered. Conversely, if
the sky often appears almost white your subject is a complex street scene
because the camera has judged the or marketplace, your sky will need to
light needed for the landscape rather be restrained, otherwise the two areas
than the sky — hence the need for a of the picture will conflict.
separate section of photographic
reference for skies. Aim for a good UNITY WITH THE LAND
selection of skies that you can use To give unity to the whole painting,
with any subject you want to paint. the sky colour should be repeated in
the foreground. This is particularly
TRANSFERRING SKIES INTO PAINT important where your subject
The rule about never attempting to includes water, even if it is just a
copy exactly from your photograph puddle. If you are using
must be applied even more strictly two separate photographs
when you are using a photographic to build up a picture you
reference for a sky. Your photograph need to be careful that the

38 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 sky conditions predominate — in other or creating the light ripples known as
words, don’t put in shadow if your ‘mackerel skies’.
sky is dull and overcast, but if you
have a bright sky with cumulus Cumulus clouds are my favourites.
cloud, cloud shadows should appear White and fluffy, flat-bottomed and
in the landscape. This may sound with a cauliflower-shaped top, they
obvious, but I have often seen a are exciting to paint but need practice
painting of a yellow sky with a blue as well as understanding if they are to
river underneath it! be portrayed with authority.

STUDYING SKIES Nimbus are the low, heavy, grey

Photographing skies will develop the clouds that are often an indication of
observational skills you need in order raimeto, come,
to be able to paint them authentically.
I am constantly surprised at the lack DESIGN
of knowledge of skies displayed by Let’s look now at the actual painting
my students, even though they see of skies, thinking first about design.
them every day. Consulting a more Although we’ve dealt with the subject
specialized book on the subject will of design on pages 22-31, there are
help you enormously, but here is a some principles that are particularly
brief description of the common relevant to skies.
clouds to set you on your way. I have already mentioned balance
and unity; another design rule is to
Cirrus clouds are the high, wispy provide contrast of tone, which can
clouds which are sometimes blown be introduced by setting a dark tree
into long drifts, forming ‘mare’s tails’ against the lighted part of the sky, or

Here 1s a good example of cirrus Cumulus clouds are an exciting Cumulo-nimbus clouds form a
clouds, which are commonly addition to any landscape. Notice majestic backdrop to a landscape.
known as mare’s tails. These can how perspective makes the clouds They create an ominous,
be used in an otherwise plain appear smaller as they recede dramatic atmosphere.
sky to create visual interest into the distance. The blue must
without detracting from the be used to create a negative
foreground subject. shape, forming the clouds.

40 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

a sunlit spire against a thundercloud.
Remember that variation is essential
and never have a row of identical
clouds; one of them must always
be dominant. A clear sky will need
graduation — there is no such thing
as a flat blue sky.

TECHNIQUE
The sky is one of the areas of painting
in which the hake is invaluable. It can
sweep across the paper quickly and
its very size prevents ‘bittiness’ and
overworking — the worst enemies of a
good sky. To obtain this sweep I push
my chair back and stand up, giving
myself plenty of room for a unified
stroke using my whole arm. In a graduated sky the first step 1s a weak wash of Raw Sienna.
You cannot take a long time over a The blue is then put in strongly at the top, with the pressure
watercolour sky; if you do you will taken off the brush as it moves back and forth to the horizon. If
end up with what I think of as a the paper is at an angle of 45 degrees, gravity will do the rest.
‘cardboard cut-out’ effect. I
invariably put a very weak Raw
Sienna wash over the whole sky area
and try to complete the entire sky
while the wash is still damp.
Don’t despair if your first efforts
are weak and too runny. Ninety per
cent of the problem is too high a
water content, and once you have
learned to control this things will
improve dramatically. Remember that
a sky will always fade by about 30 per
cent when dry, so aim to frighten
yourself when putting the colour on.
Remember, too, that any strong darks
in the foreground painted later will
also push the sky back.
Lack of confidence will probably
show up more in skies than in any Here is a painted example of a typical cumulus sky similar to
other area of your painting, and the the one shown in the centre photograph on the facing page. A
only way to gain confidence is to sky of this type needs a fairly simple foreground, as one that
keep on painting them. After all, the has plenty of interest in it will compete for the viewer's
sky will dictate the whole mood of a attention. A point to remember ts that one cloud must always
painting, so it’s surely worth a little be dominant — but make sure you provide weight elsewhere in
dedication to produce the best. the painting or the end result will be unbalanced.
oT TIT ee

Evening Light, Ss ev 1

This demonstration shows how important it ts to reflect

” the colours of the sky in the foreground. In a subject with
a rather flat foreground such as this, the colours visible im
the photograph may not give sufficient interest and you
may need to enhance them.

THE PHOTOGRAPH
This was a very exciting photograph altering the angle and extent of the
to take. I shot it about 1.6 km foreground stream. The viewer’s eye
(1 mile) from my home, with the is then taken through to the distant
notorious Severn tide at its lowest. building, following the zigzag design
The automatic exposure on the of the sand bar.
camera was influenced by the light in
the sky, so inevitably the foreground THE PAINTING
is too dark. Nevertheless, this is a When painting the scene, it was
good example of the fleeting effects important to provide unity by
that can only be captured with a reflecting all the existing sky colours
camera, as the light would have in the wet mud and sand; it is easy
changed long before I could have to make this type of foreground
completed even the quickest of very monotonous by using too few
sketches in watercolour. colours. The soft wet-into-wet clouds
are a good foil to the crisp directional
THE TONAL SKETCH strokes of the foreground. The distant
When I did the tonal sketch, I made power station, although tiny, provides
a better lead into the picture by a focus for the eye.

42 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

SKIES 43
 Here I have borrowed a lowering sky from another
photograph to give a suitably wintry effect to a landscape
embellished with lingering patches of snow. Using your
imagination thus can result in a painting that 1s
radically different from both your starting photographs.

THE PHOTOGRAPHS
These two photographs, loaned to me
by students from one of my classes,
were combined in one painting. The
photograph on the left shows a
cumulo-nimbus sky which was
reasonably straightforward to paint.
The landscape in the photograph
below left lacked balance, but masking
off the pile of logs improved the
scene considerably.

THE PAINTING
Only three colours were needed for
this sky: the original Raw Sienna
wash followed by a strong mixture of
Payne’s Grey and Crimson Alizarin.
For this type of sky you must steel
yourself to put the colour in much
stronger than seems necessary. Your
board should be on a slope so that
the paint can diffuse downwards
naturally without help from your
brush. Notice how just one cloud
dominates the sky, the rest being
reduced as they reach the horizon.
When I painted the landscape beneath
I changed the colours, exaggerated
the rise of the land towards the
horizon and deliberately left areas of
untouched paper to suggest snow.
‘The winter trees are painted mainly
with the rigger and finished off with
dry brush strokes of the hake.

44 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Last of the Snow, 30 x 35.5 cm (12 x 14 in)

sank
uae, KIES 45
ile SMESg Ss ‘ ra is
Fee)
Evening on the Loch

Here two very different scenes were combined, with the

restless sky in one photograph contrasting dramatically
with the still calm of the loch in the other. This
demonstration shows how it pays to be adventurous with
your stock of sky photographs rather than limiting
yourself to obvious matches.

THE PHOTOGRAPHS
The somewhat chaotic evening sky in
the top photograph is full of colour
and excitement, but as so often
happens the landscape that lies
beneath it is boring as well as being
under-exposed, and certainly not
suitable for painting. The photograph
below, however, shows a good lead
into a pleasing scene, though the
foreground needed cropping and
the horizon lowering in order to
allow more room for the sky in the
painting. The photograph also
contains some strong texture in the
foreground, which I included in the
painting to form a good textural
contrast with the sky above.

THE PAINTING
When you are painting a sky such as
this you use the photograph simply
as a reference — not that you would
consider executing an exact copy, of touch of Burnt Umber to warm them
course, but in this instance it would up, and made those near the horizon
in any case be quite impossible. The smaller. The landscape was taken
cloud was done in stages: first the from the second photograph, but of
Raw Sienna wash with added yellow course all the colours have been
was laid, then the main greys made changed so that they match the sky.
from Crimson Alizarin and Payne’s This repetition of sky colour in the
Grey were dropped in while the landscape is extremely important: not
background was still very damp. I only is it a good unifying device, but
changed the colour of some of the without it the scene would be totally
clouds by adding Raw Sienna and a lacking in authenticity.

46 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

SKIES 47
 SEBS EIR OOS crear

Donegal Lakes

This demonstration shows that it 1s worth taking a

further look for a sky even when the one in the landscape
© ie Photograph may seem acceptable. Though the photograph
below right has an adequate sky, the painting 1s greatly
enhanced by borrowing a more dramatic cloud pattern
from the photograph below left.

THE PHOTOGRAPHS I painted it in patches, leaving the

The photograph below left shows original Raw Sienna wash showing
masses of cumulus cloud, built up in through in places to form the cream
layers. In order to obtain the right clouds. It is sometimes difficult to
exposure for the sky the landscape think of the clouds in this way as
beneath has had to be sacrificed. The negative shapes. I took care to paint
photograph below right, of a typical the whole sky while the Raw Sienna
scene in Donegal, Ireland, shows wash was still damp in order to
good recession, with cool colours for avoid ‘cardboard cut-out’ clouds.
the mountain and warmer browns ‘The grey shadows under the clouds
and ochres in the foreground. were painted in Payne’s Grey and ri Z Demme:
sae ees3
Toe
Crimson Alizarin.
THE PAINTING When painting the landscape I
I decided on a change of blue for used the Prussian Blue in the mix
this sky, so I used Prussian Blue. to indicate the distance of the
mountains then gradually worked
forward in stages, warming and
strengthening the colours until I
reached the foreground.

mes

48 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 PROJECTS: Skies |
Here are several photographs of skies for you to use as the
basis for paintings. They are intended merely to act as a guide —
it is impossible when painting a free watercolour sky either from
a photograph or on location to reproduce it exactly. What you
should attempt to do is to convey the essence of the skyscape.
Look at the sky, think about how you are going to portray it,
then let fly, painting as quickly and boldly as possible — you will
find it a really exhilarating experience. Study each of these
photographs carefully and decide whether you need to make
compositional changes to the landscapes. You will find my
interpretations of them on pages 116-117.

A Haystack Rock in Oregon is a famous landmark little featureless, so you should try to introduce
on America’s Pacific Coast and is of course the some interesting texture and colour here. The sea
main object of interest in this photograph. To could be made rougher and the spray used
improve compositional balance, a painting will effectively to add movement to the scene; seagulls
need the counterweight of a heavy cloud to the too are a good source of movement and interest in
right of the scene. The beach in the foreground is a a sea painting.

50 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 < This photograph, taken from a house
in Oregon, ts full of dramatic light and
colour and you should exploit this as
much as possible in your painting. The
foreground posts are a distraction and
should be removed, but your painting
will benefit from the addition of a more
pleasing foreground object to add
interest. The main focus here, though, 1s
the boiling sky, so make the most of tt.

A Here low cloud is enveloping the top of the hills, interesting sky, but not one that will dominate the
painting. You will also need to create a main object
but the impact of the sky ts less than it might be
of interest. Any man-made object, even tf it 1s very
because the horizon is high. I feel that the horizon
small, will stand out in a natural environment, so
needs to be dropped down the paper in order to
adding a fishing boat would be a solution — but
allow more space for the sky while still leaving
you will need to think carefully about how to
sufficient room to provide texture and colour in the
position it.
landscape itself. Your object here is to create an

SKIES St
 It is with this subject that Just as important as the trees Morning Sunshine
the greatest difference themselves is what grows beneath 40.5 x 30 cm
between the photographic them. Foreground undergrowth (16 x 12 in)
image and the final painting should be contrasting and full of Here I painted the
occurs. If you photograph a variation, but avoid the temptation to sky first and then
woodland scene, or even a overwork by painting quickly and dropped in the
single tree, the resultant lightly. Many a painting is spoiled by distant woodland
image will show thousands an overworked, muddy foreground. wet-into-wet,
of individual leaves, twigs and keeping the colours
branches. It would be impossible to CHOOSING THE COLOURS very cool. Working
paint each one, and in any case you At every time of year you will have to forward, I added
should not aspire to. Your aim is to use a far greater range of tree colours progressively more
produce a fresh impression with all than those shown in your photograph warmth and also
the atmosphere and depth of the in order to avoid a flat, monotonous strengthened the
scene without the detail. effect. In an autumn woodland scene, bare trees. The
for example, I start painting with a branches were put
SEEING THE STRUCTURE variety of mauves in the background, in with the rigger.
‘Trees are beautiful in their own right giving an impression of distant The water went in
and are an asset to any landscape, autumn foliage. This gradually as a very pale
so they deserve careful study. As changes to rich reds and browns in Raw Sienna wash,
with any other subject, you will not the foreground. In winter, a variety of and I immediately
achieve good results by relying on a blues and browns dominate; Burnt dropped in the
photograph; you must have knowledge Umber and Ultramarine used in reflections wet-
of your subject, so take every chance varying proportions are what is into-wet. Those of
you can to look carefully at trees in needed here — a higher proportion the main trunks
all seasons. For example, in winter a of blue in the back, and more Burnt were put in with
deciduous tree will show you its Umber at the front. Even a single tree rich paint so they
skeleton, giving you the chance to should have a variety of colours in it. would register
learn the basic shape beneath the Foreground trunks must never be strongly. Finally, I
summer leaf canopy. Notice how a plain untextured brown; if you used white gouache
distant trees lose their individuality observe tree trunks carefully you will to paint the strong
and become a single overall mass. discover a variety of greys, pinks, light edging the
Whether or not they appear in your even blues. Side lighting in your tree trunks.
photograph, it is important to leave painting will help to
sky holes in your painting in which to emphasize the
indicate branches and twigs — never roundness of the
paint branches on top of foliage trunk as well as
masses. Gradually thin the branches anchoring the
as they reach the outside edges of the tree to the ground
tree, combining them with the holes and offering the
to form an interesting silhouette. opportunity to

52 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 create contrast and excitement with painting winter trees. Tapping the
interesting shadows, regardless of paper with the back of the hake
whether they are present in the produces very realistic foreground
photograph or not. If you want to foliage that does not look overworked.
portray a really large tree, show only The rigger is the brush to use for
a small part of it in order to suggest grasses and undergrowth beneath the
its massive bulk. trees, but do be economical with it,
just suggesting grasses rather than
USING THE RIGHT BRUSHES overworking them.
The only two brushes I use for trees
are the hake and the rigger. For DEPTH OF FIELD
distant trees, I employ the corner of In a photograph a foreground tree
the hake to produce the ragged has virtually the same value as a
profile of trees against the horizon, distant one, whereas in a painting
then a gentle touch with the edge to you will need to create depth of field
create the base of the wood. by deliberately cooling the colour in
I use a sideways motion with the the distance and massing the trees
edge of the hake to represent the together as one single unit. As you
trunks more to the fore. I then switch move forward in the painting, warm
to the rigger to delineate branches the colour, reserving the richest tones
and twigs, using varying pressure — and detail for the foreground — in
heavy for the thicker branches where other words, exaggerate the aerial
they come off the trunk, and perspective. You need to bear in mind
reducing to a feather-light touch for that you are trying to portray on a
the finest twigs. It takes practice with flat piece of paper a scene which
the rigger to produce authentic may stretch back miles from the
tapering branches, but it is time well viewer. A distant hillside, while it
spent, especially when you are may consist of thousands of trees,

Y \ SOU pL <4 This shows how the

SVN V7) 2 rigger is used for the
ot) f / ae :
A NAY “dey, fine branches on
es winter trees. The width
of the branch is dictated <4 The basic method
by the amount of pressure for painting
on the brush, which is summer trees 1s
held at the top end to to tap the back
allow freedom. You may of the hake on the
need a fair amount of , paper to produce the
~ practice before you can foliage, leaving plenty of gaps.
produce these winter trees The branches are then put in
with confidence and with the rigger — but only in the
conviction, but it will be empty spaces. Never paint in
time well spent. branches on top of the foliage.

54 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

can be convincingly expressed by just a swift
paper dries, I move forward so that the trees
stroke of the hake. become sharper and warmer as they reach the
I very much enjoy painting misty woodland foreground.
as I love the wet-into-wet effects I can achieve When you are painting woodland your aim
at the back of the scene. The whole of the should be to give the viewer the feeling of
background is painted wet-into-wet, even the being able to walk into the wood. Woodland
rigger work, which of course diffuses. As the scenes often incorporate pathways, and these
should wander rather than being straight, with
an exaggerated perspective so that they take
the eye right into the scene, [his is one of the
many changes you may have to make to your
original photograph. One of the most frequent
faults in photographs of woodland is that they
do not have enough depth of field, and you will
need to rectify this in your painting.

A This illustration shows a woodland scene and

demonstrates the texture of a foreground trunk. The
background has been kept deliberately wet-into-wet
in order to avoid a conflict of interest. The
foreground undergrowth is painted in much richer,
stronger paint. The main trunk has been painted
with the hake; everything else has been put in
using the rigger and a fingernail.
A Using cool and warm colours as shown here
creates depth in a landscape. I have added more
water to the paint at the base of the distant trees
to give an impression of mist. Don’t overdo
foreground texture — often just a hint is sufficient.

<4 This is a good example of foreground grasses

and texture. Again, the background trees have been
put in wet-into-wet to push them back, while the
foreground is put in with richer paint. I’ve used the
corner of a credit card to create the light grasses,
scratching them out while the paint ts still damp.

Sapanaeasereere “gs Bh pangs os

TREES AND WOODLAND 55

Misty Creek wee yy
Pe
See —— ee ee aet

The comparison between the photograph and the finished

painting here is an excellent demonstration of what this
whole book is about. The painting is a distillation of the
photograph rather than a reproduction of it, improving
upon the composition and enhancing the mysterious
atmosphere of the location.

THE PHOTOGRAPH
This photograph of an
American creek, lent to me
by my friend Dr Don
Fisher, is highly evocative
of the raw feel of a damp
and misty day in winter.
However, it was taken in
the poor light conditions
that inevitably prevail at
such times and is therefore
lacking in definition and
contrast. Because of this it
appears dull and rather
flat. However, it offered me the THE PAINTING
opportunity to use my imagination to ‘This is essentially a wet-into-wet
produce a moody and exciting painting. First I covered the whole
watercolour by adding more contrast paper with a Raw Sienna wash and
in colour and tone. I also needed to then I dropped in the trees and
simplify the whole scene by clearing foliage with various strengths of
away all unnecessary clutter, starting paint, sometimes using it almost neat.
with the tufts of vegetation that are I had to work very quickly and freely,
just visible at the very bottom of using my fingernail to delineate the
the photograph. light branches and a piece of credit
card to scrape off the tops of the
rocks. The sparkle on the water was
obtained by using a very fast and
light stroke of the hake.

56 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Misty Creek, 30 x 40.5 cm (12 x 16 in)

TREES AND WOODLAND 57

 The photograph and painting here demonstrate how even a small alteration
of colour or shape can have a major impact on the design of a picture,
turning a rather unbalanced photograph into a painting that is
compositionally satisfying.

THE PHOTOGRAPH
I got much enjoyment both out of taking the
photograph of this wintry field and converting
it into a watercolour. However, the photograph
lacks balance, with nothing to counterweight
the strong shape of the trees to the left. The
right side has no point of interest to contain the
viewer’s eye within the scene.

THE PAINTING
When I painted the scene I corrected the
composition simply by lengthening the shadows
so that they stretched
all the way across the
field to the right-hand
side oi the. picture. [
also made a little more
of the far trees on the
right of the picture.
Whearee skeletons
cried out for plenty
of calligraphy with
the rigger, which
contrasted well with
the indistinct mass of
the distant trees. When
I was painting in the
shadows I had to ere
yim F
work with speed and ;
decisiveness as there ge ee Ge
was no second chance ~* i,
here — shadows must
be kept transparent. :
The untouched snow , Sage
was left as completely . c
white paper.

Winter Shadows, 28 x 35.5 cm (11 x 14 in)

58 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS
River Bend

Trees usually cast strong reflections in water

and these can provide plenty of interest in a
painting. Here the light on the water has been
exaggerated somewhat to take full advantage
of this.

THE PHOTOGRAPH rich green, dropping in plenty of reds at the

What drew me to this scene was the contrasting base to avoid monotony. The pinks and mauves
pinks and greens of the vegetation complemented of the distant trees were repeated in the
by the mauve reflections cast by the trees. shadows on the river banks in order to provide
unity. The trunks of the trees were put in using
THE PAINTING sideways strokes of the hake. Finally, I painted
After putting in the sky I dropped in all the the river itself, with the reflections of the trees
background woodland wet-into-wet, using going in with vertical strokes, wet-into-wet. The
Crimson Alizarin and Ultramarine. Once this sunlit patch of water provides the painting with
was dry I painted in the foreground woods with a good centre of interest.

River Bend, 30 x 40.5 cm (12 x 16 in)

TREES AND WOODLAND 59
 a PO ee :

The White Barn

Some photographs are suitable only to be used as a

reference point for certain aspects of a painting; others
stand quite well as pictures in their own right, needing
just minimal alteration to make a satisfying painting.

THE PHOTOGRAPH feel and cleared away some of the

This photograph is pleasing in both foreground brush to allow easier
composition and colour and very access into the picture. The main
little design change was needed to difference between the photograph
transform it into watercolour. and painting, though, is that to
However, as the white barn is the provide more warmth and contrast
main object of interest, I decided to I made the distant colours richer,
make minor alterations to focus the introducing purples mixed from
viewer’s attention firmly upon it. Crimson Alizarin and Ultramarine.
‘These contrasted well with the warm
THE PAINTING colours of the field and riverbank. I
I felt that some of the minor trees in used purple again in the foreground,
the middle distance would be best creating a feeling of unity in the
eliminated so that they did not painting. I also moved the area of
distract the eye from the barn. I also heaviest cloud, lifting it from the
left out the tree branches just in shot horizon to allow greater contrast
on the right to give a less cluttered between the hills and sky.

60 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

The White Barn, 30 x 40.5 cm (12 x 16 in)

TREES AND WOODLAND 612

 Arr ayaa
=PS ite,>

sigue SG

e |
teens a

This painting of the reflections of skeletal winter trees in

water shows that it is sometimes possible to have the
luxury of using a photograph almost as it 1s without
having to deliberate about how you can improve the
composition or colours.

THE PHOTOGRAPH was a mix of Raw Sienna and Light

Sometimes you may be fortunate Red, with the darker patches in
enough to find a photograph which is Ultramarine and Light Red. The
TUlPof potential and cries out to be group of trees was a delight to paint,
painted as soon as possible. This is with the rigger and dry brush hake.
one such — an absolute natural. It ‘The snow was mainly left as
needed virtually no alteration. untouched paper. Now came the
river, which had to be done quickly
THE PAINTING and decisively. A first wet wash of
Painting the graduated sky was a varied blue and Raw Sienna was
straightforward task; I laid a thin followed immediately, wet-into-wet,
Raw Sienna wash and immediately with rich browns and blues for the
afterwards applied a mixture of reflections. Finally, a few squiggles
Prussian Blue and Ultramarine. Next with neat paint indicated the trunks
I put in the background scrub, which of the trees.

62 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 ;
re
‘
ped
ae

Piet
beast

REE
4
seks
;

Winter Reflections, 30 x 40.5 cm (12 x 16 in)

 When you are tackling these subjects remember that although
the photographs may show every twig and leaf, your job is to
produce only the general effect of trees and foliage. In other
words, make great efforts to restrain yourself from copying and
symbolize the scenes instead. Study each photograph carefully
and decide what changes you want to make. For example, you
may wish to improve the composition or to eliminate certain
aspects altogether. My interpretations of these photographs are
on pages 118-19.

A The main object of interest here is the tree, of course, plus

the wonderful shadow patterns created by sun on snow.
However, the strong shadow running across the bottom of the
photograph seems to create a barrier, keeping the viewer out of
the scene, so you may want to consider removing some or all
of this in your painting. Think how you might draw the
viewer's eye into the painting instead. The branches of the
main tree will need to be simplified and the distant woodland
might also need some attention to make it more interesting.

64 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 <4 This photograph was taken on a very hot
summer’s day in the woods. Your main problem will
be to create depth in your picture. You might decide
to do this by keeping the greens in the distance
fairly cool and painting them wet-into-wet, and
then using warmer and stronger greens in the
foreground. You will also need to simplify the
picture considerably. Don’t attempt to indicate
every branch and leaf, even in the foreground — the
temptation with this type ofpicture is to overwork,
but you have to learn to stop as soon as you have
captured the atmosphere. Try to retain the strong
contrasts of light and shade in your painting.

creating depth, and how you will set about

A This type of scene lends itself ideally to
portraying the distant tree-covered hillside. You
watercolour. The composition of this photograph
might consider moving some of the trees in order
is fairly good as it stands apart from the striped
to allow a better view of the bridge and the hill in
deckchair, which you will probably decide to
the background.
remove. Again you will need to think about

TREES AND WOODLAND 65

 While skies are my favourite to put in the minimum of strokes, Welsh River in Flood
subject, water comes a close leaving some work for the viewer to (detail)
second; looking round 85 of do. The reflection of a post or tree in This painting,
my paintings in a recent the water can be portrayed by just a based on a black
exhibition, I realized a very slight wriggle of your brush, while and white
high percentage of them untouched paper for white water can photograph in a
depicted water in one form be just as descriptive as paint — but guide book, shows
or another. Of course, water don’t leave too many conflicting how leaving plain
appears in a very wide range of whites in other parts of the painting white paper
subjects: boats, harbours, sea shores, as they will dilute the effect. conveys the feeling
rivers, lakes, estuaries, waterfalls, When I am painting a large stretch of rushing water.
even the humble puddle in the road. of open water I often make it dark at I have given depth
The mood can range from raging the front and graduate towards the to the scene by
torrents to tranquil lakes. back to give the impression of depth, using restrained
whether or not this appears in the colour in the
TECHNIQUES FOR PAINTING WATER photograph. The best way to do this background and
When working from photographs, is to paint the rest of the picture first strong, contrasting
you will often have to make changes then turn it upside down, put it on a colours for the
to the water in some way to make it sloping board and wet the whole foreground rocks.
look authentic in a painting. This can surface of the water lightly. Put in a
be done by using various techniques. strong wash at the front, lessening the
For example, the tumbling white pressure on the brush as it moves
water of a fast-flowing river can be towards the horizon, then allow
made to look really exciting by using gravity to do the rest. This means
fast strokes which follow the direction that the line of the horizon will not
of the water, leaving plenty of white be encroached upon.
paper showing. In still water you may
have to put in reflections which aren’t PAINTING ROCKS
in the photograph, perhaps because Another aspect of painting water
the surface was ruffled at the time. scenes is the portrayal of rocks. Don’t
Reflections are an excellent way of feel you must reproduce those in the
unifying a painting. Conversely, I photograph; you are quite free to take
often wipe out a streak to indicate a them out, reduce some and enlarge
patch of disturbed water, which adds others. They can supply
interest. This is particularly effective contrast with the water
where the water is darkest. — another feature of
In the painting of water, the good design. Increase
watchword is economy — many water the contrast between
scenes are ruined by overworking. the top and sides of the
Hundreds of ripples carefully painted rocks to add drama to
in can kill a painting stone dead. Aim your composition.

66 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 we

ie
 BRUSHSTROKES with it afterwards is always disastrous.
Generally, I use the hake for my Again the hake is ideal for this type
water scenes, employing it in many of work.
different ways. I love the sparkle it Water scenes very often include
gives when it is used to make one boats, and your main aim here should
sweep lightly and quickly across the be to simplify them. You may be
sea or a lake. It just touches the tempted to copy every detail you can
surface of the paper, taking only see in the photograph, but as long as
seconds to do but giving an effect the overall proportions are right it
you could not obtain with hours of is surprising how little detail you
work. I particularly enjoy painting actually need. The 25 mm (1 in) flat,
estuaries at low tide, where there are used judiciously and delicately, will
dry sandbanks which again have to do the job and prevent you from the
be put in with one quick flourish of over-elaboration that might result
the brush to give them spontaneity, from using a smaller brush. It is
the wet sand and mud reflecting the obviously important that the style of
colours of the sky. boats should match the context of
When painting seascapes I like to the waterscape.
stand up and use my whole arm to
produce spontaneous curves to COLOUR IN WATER PAINTINGS
depict the waves, leaving white paper Don’t make the mistake of mixing up
for their crests. The shoreline too a wash of blue and painting the
must be put in with simple sweeps whole water surface, no matter how
and then left alone — fiddling about large, with that one colour. The

To paint these reflections in calm water I first put This fast-flowing river is portrayed by making full
on a thin wash of sky colour and then brushed in use of the white paper. The colour has been put on
the vague tree shapes vertically while the wash with a hake, using fast, light strokes in the direction
was still damp. I then used stronger, richer paint of the flow. Remember that the more economical the
for the foreground reflections. The soft streaks strokes are the better the result will be.
were taken out with a dry hake while the paper
was still damp.

68 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

surface of the sea or a lake changes colour reflections of whatever lies behind them in rich
constantly, especially in the shallows where the paint to compensate for the dampness of the
sand or pebbles show through. This graduation surface. This will soften to produce the right
of colour, one of the fundamental principles of effect, but will still appear in virtually the same
design, is particularly important here in order tones as the original object.
to avoid monotony.
Water itself is colourless but it reflects every
colour around it, be it from the sky, from trees
or from buildings. However, the sky colour
must always influence the water as this plays a
large part in the unification of the picture. It is
important to remember this if you are using
two separate photographs, one for sky and one
for water.
Be careful not to be too influenced by the
colour of the water in a photograph. Many
rivers will appear brown and muddy after rain,
and this will not make for an attractive
painting. The colour of the river should rely When depicting foreground waves and rocks the
more on the sky above and trees around it challenge is to convey the idea of liquid, moving
rather than the mud particles within it, which water against the hard, rigid rocks. To do this you
also cut down reflections. need to use every opportunity for counterchange to
When painting ponds or lakes I paint in the create visual excitement. You should also put in
general sky colour first, then drop in the plenty of varied colour.

The main things to remember when painting rocks

In this tranquil scene the water is sparkling with
is that the tops must be light and the sides dark,
reflected light. To achieve this, first put in the sky,
and that the colour must be varied. In some of the
then take a hake brush full of the same colour
rocks here I used a piece of credit card while the
and sweep it very lightly and quickly across the
paint was still wet to scrape off the top surfaces. In
water area so that it just catches the surface of
others I painted the top surface light and used
the paper. When this is dry, you can put in the
stronger, darker paint for the sides.
foreground shoreline.

WATER 69
 Lake eB 9
Oregon
ae CS
Sore ee oo RE ie

This demonstration shows how useful a tonal sketch can

be when working from a photograph, particularly one
with a variety of different forms within it. It reduces the
scene to a simple pattern of lights and darks and suggests
how the tones of the photograph may be modified to
increase depth and contrast.

decided to add the family

canoe drawn up on the
bank to provide the scene
with the necessary focus
of interest. I altered the
curve of the shoreline so
that it would draw the
viewer’s eye into the
picture and reduced the
amount of rushes.

THE PAINTING
In my painting I cooled
the colours of the
distant trees to create a feeling of
THE PHOTOGRAPH recession and strengthened the
I took this photograph while I was on colours of the nearer trees on the left.
family camp in the wilds of Oregon Notice that the reflections in the
in the USA. There was plenty of water also follow these changes. They
interest here for a painting of water, were put in wet-into-wet on top of
with reflections of the sky and the the sky-coloured water of the lake.
pine trees, rushes growing in
the foreground and a riffling of
the water surface caused by a
light. breeze.

THE TONAL SKETCH

I wanted to add more depth
and contrast in my painting of
‘this lovely place so I included
some distant snow-covered
mountains in my tonal sketch
to help achieve this. I also

70 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

WATER 72
 Rete
oa Ta oteSegeee
ee
: el eget
SR ee ae al
eres

Pefetralian Peninsula

Often you may have to emphasize the lights and darks

in a tonal sketch to obtain sufficient contrast in your
finished painting. In a subject such as this, however,
which contains dark landscape features and foaming
white waves, you need do little to improve upon the scene.

THE PHOTOGRAPH THE PAINTING

I was attracted by this curiously In the finished picture I have
shaped peninsula in Australia, with simplified the sea, as attempting to
its starkly different planes and variety reproduce the waves too closely
of textures ranging from the rocky would only have resulted in a static
beach to the smooth, well-worn path. effect. I have also introduced more
With no distracting objects to mar colour in the cliffs and beach by
the view, it was obvious that it would adding complementary mauves.
translate well into a painting. Notice how the brush strokes follow
the general profile of the land mass
THE TONAL SKETCH to emphasize its form.
The photograph contains plenty of
contrasting light and dark in the
white waves and dark rocks and I did
not have to search for more. The only
significant change I made was to put
in a line of distant hills on the
horizon, which existed in reality but
did not show up in the photograph.

72 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 xe
Sonar
Sa

Australian Peninsula, 28 x 35.5 cm (11 x 14 in)

 es ee 2
Vis saa
Su al SS

This is an example of how the dimensions of a

landscape-shaped photograph can be completely changed
to make a portrait-shaped painting. Altering the
proportions of a scene in this way not only affects its
' composition but can also shift its emphasis considerably.

Vp aay eee

2 LESSBIER

Staats

THE PHOTOGRAPH
It is always a help in this exercise to
use two or three pieces of white
paper to crop the photograph in
various ways, moving them around THE PAINTING
until you frame the most interesting You will see that I have made the
section of the scene. In this water faster-flowing by leaving white
photograph the steep wooded banks paper to create the impression of
of the river largely dominate the foam and have intensified much
scene, and I wanted to focus the of the colour in order to provide
viewer’s attention on the river. contrast and depth. The pinks have
been repeated throughout the
THE TONAL SKETCH painting, giving a feeling of unity
By cropping the banks I have thrust between the foreground, middle
the river into prominence so that it is distance and far distance.
now unmistakably the main focus of
attention. The sky also appears a
more major part of the composition,
though in fact the proportion of it in
relation to the trees has not changed. River Gorge, 40.5 x 30 cm (16 x 12 in)

74 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 Sometimes a photograph dictates
exactly how you should translate it into
paint. Here the treatment to use 1s
unmistakably large areas of wet-into-
wet to suggest the watery and misty
effects, with dry brush to point up the
foreground details.

THE PHOTOGRAPH THE PAINTING

The striking shape of this pair of trees caught It wasn’t necessary to make many changes to
my attention and I liked the way they were both this photograph other than straightening the
reflected in the water and silhouetted against leaning tree and leaving an area of mist behind
the misty hills behind them. All in all, it seemed both trees to produce a stronger focal point.
an ideal photograph for an atmospheric The river was put in very much wet-into-wet,
painting in which the wet-into-wet technique and shows how little needs to be done to give
would predominate. an authentic impression. I used dry brush
technique on the foreground bank to provide
contrast with the treatment of the river.
Misty Hills, 30 x 40.5 cm (12 x 16 in)
nagnecnipernmcicenerers
The River in Winter

The combination of snow and water

often makes for a dramatic painting,
with the dark reflections of trees echoed
by the shadows thrown on the whiteness
of the snow. This demonstration shows

a
how much colour you can find in what
might first seem a monochrome subject.

THE PHOTOGRAPH THE PAINTING

There is plenty in this photograph to attract a The composition of the photograph was good,
watercolour artist, with the linearity of the stark so my main task was to add variation in colour
tree trunks counterpoised against the horizontal to the background trees to avoid the monotony
planes of the water and snow. The swirling of too many greys and browns. To paint the
water here also offers plenty of interest, with water, I first put on an overall wash and while
some of the reflections broken and others more this was still wet dropped in the reflected
clearly defined. colours with rich paint and enjoyed watching
them diffuse. The reflected trunks were put in
just before the surface dried completely.
The River in Winter, 30 x 40.5 cm (12 x 16 in)
 ce -
erg AOE
te

PROJECTS: Water
Water encompasses so many forms, from still, reflective surfaces
to foaming waterfalls, that it provides a variety of challenges to
the artist’s technical capabilities, often within just one picture.
Here I have picked photographs of the three types of water you
will encounter most often — the relatively calm waters of an
estuary, gently rolling waves on a seashore and a fast-moving,
rocky river. As usual, remember that your goal is to give a free
interpretation of the scene and avoid falling into the trap of
trying to reproduce every wave, reflection and ripple. You can
see my interpretations of these photographs on pages 120-2.

A This photograph has a pleasing chance to use cloud forms to provide

L-shaped composition, albeit too heavy balance. One of the main problems in
on one side. I also like its depth and this type of picture is avoiding monotony
tranquil atmosphere. However, the or muddiness in the dark dock structure.
upright posts are distracting and there One method is to use various mixes of
1s nothing on the left to balance the blues, browns and light red. The beach
mass of the boat and dock, so you will too needs varying colours. Try for
need to improve the composition. While translucent shadows, allowing the
the sky lacks interest, it gives you the underlying colour to show through.

78 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 7 took this photograph during one
of my workshops on the Californian
coast. I feel that the scene needs
unification, so try overlapping the
main rock against the background
hill to achieve this. You might also
wish to introduce a figure or two to
give scale and human interest, but
take care where you position them or
they will distract attention from the
rock, which is the main focus of
interest. Again, put plenty of colour
into the foreground beach.

A I took this exciting photograph in much colour into the rocks as possible,
North Wales. The star of the scene here experimenting with blues, browns and
is the foaming white water, so avoid ochres, and don’t be too influenced by

leaving white paper anywhere else or the relatively uniform colour in the
you will detract from its impact. The photograph or you will limit yourself.
rocks in the immediate foreground Never try to put in rocks such as these
should be separated in order to allow stone by stone — what you are after 1s
the overall effect.
perspective on the river. Introduce as

WATER 79
 Of all the subjects covered over to one side. Don’t position your Iris and Jasmine,
in the book, flower paintings flowers so that the light hits them all 28 x 21.5 cm
probably give you the most equally — in strong light they may (11 x 8% in)
control over the design look flat, and in shade they will I loved the deep,
and composition of your appear dull. Try to arrange lighting rich blue of these
photographs. Often you will that will illuminate some flowers irises against the
be photographing flower while leaving others in shadow. purity of the white
arrangements indoors, with To get the best effect from your jasmine. In a
no problems of telegraph poles, flower paintings, you need to keep loose, fresh
electricity pylons, rubbish dumps and both the background and surface watercolour the
the like; you will not be soaked by undemanding. Anything you put in aim 1s always to
rainstorms or frozen in snow, so this must enhance your flowers, not convey a general
will be your chance to concentrate on distract from them. Backgrounds can impression of the
producing a really good photograph. vary in tone, enabling you to put flowers rather
light flowers against a dark part of than to execute a
SETTING THE SCENE the background and vice versa. A tight copy of each
It won't do to stick some flowers in a reflective surface such as a polished flower. I could
vase and take a snapshot — you must table can be used to advantage to have masked out
design your setting. Think of the unify the painting. the jasmine before
background, the surface, the container Once you have decided on your starting to paint,
and, most importantly, the lighting. flowers, lighting, container, surface but felt that in
Look for harmony of colour in the and background, consider whether or this case using
flowers, particularly in a formal not another object on the surface white gouache
arrangement. Remember to consider might enhance your composition. would work better.
the proportion of flowers to container Perhaps a book or favourite piece of The rigger 1s ideal
as well as the type of container. driftwood carefully positioned might for fine stems.
Choose httle jars or glasses for such be just what is needed.
small wild flowers as primroses, and
stylishly shaped vases to echo the APPLYING DESIGN PRINCIPLES
elegance of long-stemmed roses. Now, take a careful look through the
Baskets, coffee pots and jugs can all viewfinder of your camera and make
be pressed into service, as long as sure that you have applied the
they are right for the flowers they are principles of design to your floral
going to contain. However, don’t scene. Aim for informal balance
allow the container to dominate. The between the flowers and the
ee oy
stars of this scene are the flowers.
In arranging your flowers in their
surrounding objects. The worst &
mistake you can make is to ;
“aM
—
—_
container, try for a natural look. They position the flowers in the
don’t need to be perfectly balanced, exact centre of the scene. Move
but you will obviously not want them them to one side, using a less
to look as if they are about to topple dominant object for balance. The

80 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 pyr
Sie as
 thought that you put into creating All the principles of design apply
your floral scenes is all good practice as much to this subject as to any
for general design. other, but there is room for a little
V Below are four experimentation too. Perhaps you
colours that are EXPERIMENTING WITH COLOUR might try wetting your paper first,
particularly Once you have a perfectly composed then dropping in the areas of colour,
useful for flower photograph you have to start the letting them blend. As the paper dries,
paintings, shown thinking process all over again. You indicate some hard edges to show
full strength and are not attempting here to produce the margin of a petal or leaf. Even
watered down. perfect botanical specimens with when you are working from the most
every petal and stamen in place, but beautifully composed photograph
to paint a free, fresh watercolour that you will find areas that need careful
will capture the freshness and beauty counterchange, such as putting light
of the flowers in your arrangement. flowers against dark foliage and
One thing I find helpful in this darker flowers and leaves against a
respect is to use my polishers’ mop light background. Compare colours
with its superb point, which allows and tones against each other; a red
Permanent Mauve for delicacy without encouraging dahlia may be darker in tone than a
overworking. The hake comes into mauve aster next to it, for example.
its own again for backgrounds and Your overall principles should be
surfaces, while the rigger is reserved to paint your floral scenes using a
for stems and delicate foliage. I stay minimum number of brush strokes
mainly with my seven usual colours and seeing the flowers as patches of
(see page 13), but sometimes add colour rather than arrangements of
Cadmium Orange, Cadmium Red, petals. This will portray the freshness,
Permanent Mauve and Permanent delicacy and beauty of your flowers
Rose to my palette. better than a photograph ever could.

<4 Here the

method of
dropping
pigments in to
damp paper is
shown in
practice. The
colour was
Permanent Rose dropped in wet-
into-wet and
A Here you can see the effect of first allowed to
dampening the paper and then diffuse.As the
dropping in various pigments which paper dried,
are allowed to intermingle with each strong, sharp
other. This might be a good way in strokes were
which to start your flower painting, introduced, using
introducing stronger, richer colour as the pigment
Cadmium Red the paper dries. almost neat.

82 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 Although flowers in the wild don’t allow you the
same opportunity as indoor arrangements to
compose a perfect photograph there is something
special about seeing them growing in their own
habitat which more than compensates for that.

THE PHOTOGRAPH THE PAINTING

I couldn't resist taking a photograph of these The challenge was to convey the massed flowers
bluebell woods near my home — the swathe of without overworking. The most difficult part
colour beneath the trees each spring is always a was the foreground, with its mixture of greens
delight. Woodland photographs can be tricky and blues. I changed the lighting to give more
because shafts of light shining between the trees interest in the tree trunks and pared down the
can mislead the camera’s light meter. Also, you number of trees. The figure of the little girl
will often have to include more tree trunks than adds life and provides a centre of interest.
you will wish to put in your painting.
Bluebell Wood, 27 x 38 cm (10% x 15 in)

PRO,
Ds
8WEA
 This is an example of the way my fast and loose’
techniques can be applied to flower painting. No attempt
is made to be botanically correct. The aim 1s to produce a
free, fresh painting, pleasing to artist and viewer, giving a
good general impression of the flower arrangement.

THE PHOTOGRAPH
This charmingly informal little flower
arrangement was well beyond its peak
of perfection, but I thought that it
would make a good subject for a
fast, loose painting so I decided to
photograph it anyway. In all I took
three photographs, placing the vase
experimentally in different lights,
such as in front of a window and in
full sunlight on the garden path. The
photograph where the flowers were much too tight a painting and be Yellow Roses,
illuminated strongly on one side by very inhibiting. I merely sketched 20.5 x 23 cm
window light seemed to me to be the in the main shapes of the flowers, (8 x 9 in)
most satisfactory of the three. When I allowing myself plenty of freedom of
arranged the flowers I aimed to get as expression as I did so. I painted
much contrast as possible between quickly, using my polisher’s mop, and
the light tones of the yellow flowers putting in plenty of counterchange
and the darker leaves. to produce sparkle in the finished
painting. The individual petals of
THE PAINTING the roses were merely hinted at with
The temptation with a subject such the point of the polisher’s mop, as
as this is to try to copy every leaf the more economically these are
and petal, which would produce portrayed the better.

84 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Sunlit Daffodils

As in all my flower paintings, my aim

was to convey the general impression
and colour of the flowers, rejecting any
attempt to paint each one individually.

THE PHOTOGRAPH
‘This photograph was taken at home in my dining room.
I felt that the dark, shiny table made a good foil for the
bright yellow of the flowers. I emphasized this contrast by
using the strong daylight from the
window coming in from the right. I
also wanted to give an impression of
some of the other items in the room,
such as the distant lamp and the
potted palm. I decided that standing
the vase of flowers on the small silver
tray gave a more formal air to the
flower arrangement, in keeping with
the setting.

THE PAINTING
When I looked at the photograph I
could see that the complex shape of
the chairs was a distraction so I left
them out of the painting entirely. The
potted palm and table lamp were
merely hinted at, while the table top
was painted very much wet-into-wet,
using a variety of colour. The rich
surrounding dark tones point up the
joyful colour of the daffodils and give
them form and substance. Again,
no attempt was made to paint in
individual blooms. I felt that all that
was necessary was to indicate the
overall shape of the arrangement, with
just an occasional suggestion of a
trumpet here and there to identify the
flowers beyond doubt.

Sunlit Daffodils, 24 x 19 cm (9%2x 7% in)

FLOWERS 85
 When you are painting from these photographs it is even
more important than with most other subjects to avoid the
temptation to copy every detail — it simply won’t work. Do just
a rough pencil sketch of the general arrangement, because if
you make a more detailed one you will tighten up too much
when you move on to the painting stage. Make use of the hard
and soft edges that are characteristic of flower subjects.
Employing counterchange is another important principle to
remember here; placing light flowers against dark leaves or
backgrounds and vice versa will bring your paintings to life.
See my interpretations of these photographs on pages 123-4.

< There is plenty of variation of strong

flower colour in this photograph, which
may tempt you to be too precise in your
rendition of the individual blooms.
Remember to retain the fresh and loose
brushstrokes that will give your
painting life. You will need to lighten the
flowers nearest the camera, which in the
photograph are so dark that they can
hardly be distinguished; if you were to
reproduce this in your tonal sketch you
would see that it would make for an
unbalanced painting. Adding a few
extra flowers on the left-hand side will
also help to provide balance. What with
the ashtray, the glass vase and the
window, there is plenty of reflection in
this picture — but don’t be tempted to
convey the cut-glass effect of the vase as
this would distract the eye from the
flowers. Again, keep your interpretation
free to give just an impression of the
lightness and airiness inherent in such
reflective surfaces.

86 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

& I took this photograph because I
loved the effect of the bright colours of
the roses counterchanged against the
rich, dark colour of the smoke bush
leaves. Try painting this using a wet-
imto-wet background, gradually using
stronger and richer colour as the paper
dries. Remember that you only need to
indicate the petals of the roses with
economy of stroke. The best way to
handle the clear glass vase 1s to repeat
some of the colour from the foliage to
give the painting unity.

Pe <4 When I saw this beautiful, richly

coloured vase in a shop I couldn't
resist buying it! When I got it home
I filled it with a variety of silk
flowers, which these days are very
true to life. The object here 1s to
convey the impression of the
multitude of small blossoms, and
again wet-into-wet technique would
work well. Rigger work and stronger
colour could be added once the paper
has dried. You will need to work fast
and decisively.

FLOWERS 87
ieee eee ateSOT
 When you look at a SCALE AND COUNTERCHANGE Cliff Path, Kalymnos,
watercolour scene you may Size of figure is important, of course, 35.5 x 28 cm
often have a feeling there is and many of my students seem to (14 x 11 in)
something missing. On find this a problem. It’s all a question There were no
analysis you realize that of scale. A figure of a certain size figures in the
what is lacking is a figure, placed in the foreground would look photograph I used
either human or animal. ridiculously small, but place that as reference for
Scenes of boatyards, same-sized figure further back and it this painting — I
beaches, streets and markets all look would look like a giant. One way of added them to
rather desolate without figures — overcoming this problem is to draw draw the eye of
which is fine if that is the intended the figure on tracing paper, then the viewer into
effect, but it is more likely that the move it around your drawing until it the picture,
artist may have been afraid of looks right. When it does, it is in the counterchanging
spoiling the landscape by putting right place. If your figure is near a the tops of the
them in! doorway or a dinghy, scale is fairly figures against the
straightforward — the figure shouldn’t dark background.
LEARNING TO PAINT FIGURES have to get down on hands and knees The distant
You don’t need life drawing classes to to get through the door, and must be outcrops needed to
teach you how to paint figures in the right size to sit in the dinghy! be out of focus, so
your landscape, but you do need to Make sure that your figures are I painted them
follow a few simple rules and you do counterchanged, placing light figures wet-into-wet using
need practice. Next time you’re out against a dark background or vice combinations of
and about with your camera, try for versa. Use the device of painting dark Light Red,
some scenes that include people or trousers and white shirt against light Ultramarine and
animals. Take your sketch book along and dark backgrounds respectively Raw Sienna. As I
too, and try to jot down quick for effective contrast of tone. moved forward in
impressions. Don’t bother about the scene I put in
reproducing detail — just concentrate KEEP IT ECONOMICAL more contrast and
on movement, areas of light and dark, Once you’ve become used to putting warmer, richer
and linking your figures together figures in your paintings, you will be colours.
in pairs or groups. Even if the surprised how little work you need to
photograph you are using does not do on them as long as the basic
have figures in it, put them in your proportions are right. In a café scene,
painting if you feel they are needed; for instance, a few colourful splashes
they will give it life, movement, scale under an awning, accompanied by
and variety. They can also be very a few strokes for legs, is sufficient.
useful to provide a main object of Your viewers will fill in the
interest in a scene, but if you do rest for themselves. It may
employ them in this way keep them encourage you to know
at a different distance from each edge that an artist friend of
of the painting. mine used to avoid putting

88 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 figures into his paintings. Having The problem you have to overcome
once discovered just how simply and is the fear of putting in figures, rather
economically they could be indicated, than any lack of ability. A few days
he now seeks out populated scenes, with a sketch pad will soon overcome
which he portrays with tremendous this and you will be producing livelier
vigour and simplicity. and more authentic paintings.

A photograph of an everyday scene

in town can be a very useful reference
for painting figures in the landscape;
they can be transplanted into any scene Here I have extracted a few figures from the scene on the left
that requires some human interest. and moved them around. I have also simplified them —
putting features on faces, for example, is not necessary.

This 1s a typical urban scene of a

busy high street, with families out and
about doing their shopping. Notice the The figures in this scene have been drawn direct from the
proportions of the figures in relation to photograph on the left. Even with no background, the viewer
the buildings. would guess that they are in urban surroundings.

90 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 In the countryside you will be able to photograph
figures engaged in rural tasks and leisure pursuits
that you can use for reference. Notice how in each of
these illustrations shadows are used to anchor the
figures on the ground and link them with each other.

Do keep your figures simple = th

be very roughly indicated as longs
proportions are right.

Do keep heads small and figures tall and

elegant. 2

the scene.

Do forget about feet — they are nc

usually necessary.

‘Do give shadows to your figures

whenever possible — they help to anchor
them.

.
Do remember counterchange and scale

|ELANDSCAPE 94°
< ee ae iat 5. Si
i oR My Re“ft a (Se
iia
Market Square in Orta, Italy

An urban scene that would be static 1f uninhabited

springs to life once some human figures are included.
This demonstration shows that even lightly suggested
figures are quite sufficient to make a crucial difference
to the feel of the painting.

THE PHOTOGRAPH on the left and correcting the

This photograph of a street market verticals on the building behind her,
was taken in the ancient town of Orta but apart from that it was just a
in Italy. It’s a typical Mediterranean matter of simplifying the scene.
scene with mellowed buildings, Although the figures have been pared
shuttered windows and people down to the essentials — indeed, only
strolling between market stalls. I felt the foreground ones even have feet —
it would make a pleasing composition they still retain movement and
for a watercolour with hardly any purpose. The faded mural on the
alteration necessary. Notice that the main building has been merely
foremost building has been framed suggested by some areas of warmer
off-centre. colour. This scene would lose all its
vitality if the figures were omitted.
THE PAINTING
I made some minor changes such as
omitting the girl partly out of frame

92 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 11 in)
Market Square in Orta, Italy, 19 x 28 cm (7% x

FIGURES IN THE LANDSCAPE 93

PROJECTS: Figures
in the
ies : ees

These photographs offer you a variety of populated scenes to

use as the basis for paintings that include figures. In this project
your whole objective is to try to simplify the image while still
retaining all the action and movement — in effect the same
approach that you have adopted throughout the book, for even
when painting static subjects such as flowers the aim has been
to express their freshness and life. On the whole, you can forget
about painting any facial features on your figures and often you
can even omit their feet. "Think of the figures as part of the
overall picture, not as an add-on using a different technique.
My paintings from these photographs are on pages 124-5.

Sees 8 <4 £ach year I set up camp in a

beautiful spot in the mountains of
Oregon with our multitudinous family.
In this instance the grandchildren were
running about wildly, so I snatched
some hasty photographs of them. Your
task here ts to select some of the figures
and transpose them into a painting.

eet ge

94 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 <4 This is a photograph I took on a busy
Saturday afternoon in Windsor — you
can see the famous castle in the
background. Your chief aim here must
be to simplify the scene as much as
possible, particularly of course the
buildings themselves, by restricting
yourself to using a 25 mm (1 tn) flat
brush. In this way you will be able to
retain the bustling atmosphere.

& J took this photograph during one of

my workshops in Venice. Try to convey
the bustle and life of the scene without
including too much detail. The yellow of
the flowers will provide pleasing colour
in the foreground which can be picked
up again further back in the scene. The
figure of the man on the right 1s rather
lost against the background, and you
will need to address this.

ee tte

FIGURESIN THE LANDSCAPE 95

 Many people who can ones, with such economy and Back Canal in
produce loose, free freedom. I’ve always tried to apply Venice,
watercolours of skies, trees Seago’s approach to my own work, 40.5 x 28 cm
and water lose that sense of but I still sometimes have to fight the (14 x 11 in)
spontaneity and tighten up urge to overwork. The big challenge
when it comes to buildings. One device that may help you to in this scene was
While they would not keep your buildings loose and to create all the
attempt to put in every leaf impressionistic is to limit your time, atmosphere and
in a woodland scene, being content to remembering that unlimited time is colour of the
take the viewer into partnership and likely to result in unlimited detail. buildings while
allowing him or her to do some of the Another is to restrict your brushes to avoiding the
work, they don’t seem able to apply the 25 m (1 in) flat for such things as temptation to
the same attitude to buildings. Instead windows, roofs, doors, chimneys and overwork. I varied
they feel they must paint in every balconies, as these are the danger the colour of the
window and door, even every brick, areas in terms of overworking. When buildings using a
and the painting loses all vitality. I’m painting in Greece I find that I hake before
can suggest a whole village with a few turning to my
KEEP YOUR PAINTING FREE strokes of the 25 mm (1 in) flat, and 25 mm (1 in) flat
I once took a group of students to I employ this same technique when brush to put in,
Venice for two weeks. The group painting from photographs; the flat very economically,
included four architects, who for the edge can be used for roofs and architectural
first week produced accurate and balconies, while the corner suggests details such as
detailed drawings of the city. It was windows. It positively prevents you doors and
not until the second week that I from being too fiddly. Lock your windows. Using
convinced them that it simply is not No. 2 sables away in a cupboard! this brush makes
necessary to put in every window, it almost
and that they were missing the ADAPTING THE PHOTOGRAPH impossible to put
general ambiance of old warm stone This temptation to overwork is in unnecessary
with varying colours. Once they had probably at its strongest if you are detail such as
got the message they turned out working from photographs because individual bricks.
loose, impressionistic paintings that you have more time to put in The viewer’s
captured all the atmosphere of this unnecessary detail, and will be imagination will
wonderful and ancient city and really inclined to copy the colour in the supply as much
started to enjoy themselves. photograph as well. However, to detail as 1s needed.
I have never made any secret of the avoid the portrayal of boring
fact that the greatest influence on my buildings, you have to put in a good
work has been from Edward Seago. variety of colour which could not be
Tve spent many hours studying old apparent in a photograph. One of
exhibition catalogues of his work, the questions I’m frequently asked is
marvelling at the way he was able to ‘What colour should I mix for a
suggest buildings, especially Venetian local stone wall?’ In fact, you

96 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 add colours as you go along; blues,
reds, browns and ochres are all
needed to produce the right effect.
In photographs the verticals of
buildings are often distorted. ‘This
must be corrected in your drawing
before you begin to paint — while a
A To convey a sense of distance, put in window need not be detailed, it must
the windows and doors of a building be straight! An important point I
while the wash on the wall is still damp learned from Seago is to put in some
to produce an out-of-focus effect or just of the windows before the paint on
leave some of them out altogether. the wall is quite dry. This gives an
out-of-focus appearance which is
very effective in distant buildings.
& Shadows on buildings are
important, as they help to convey SHADOWS AND LIGHT
the surface shapes as well as form. In photographs of buildings you are
However, they must always be likely to have strong shadows, which
painted in a transparent and often look opaque and dead. In a
spontaneous way, allowing the watercolour they must be transparent,
original wall colour to show showing the underlying colour.
through. However, if you have taken your
photograph on a dull day it may not
show much difference in the tones
of the various surfaces, which makes
for a flat, boring picture. Your tonal
sketch is where you correct this,
4 The little vignette dramatizing and harmonizing the
below shows how you lighting, adding shadows to make the
can take out cars, picture more exciting. Exploit each
add people and use shadow to describe the surfaces
foliage to soften a and planes it falls on but simplify,
painting. Notice organize and exaggerate the tonal
how I have attempted values in order to make them more
to get more colour ‘fast-reading’ for your viewer.
into the walls. The It is best to paint all the walls of
blue flowers were a building together, dropping in a
put in last, using darker transparent wash to the
white gouache mixed shadowed side after the first wash has
with Ultramarine dried. If you paint in dark and light
watercolour. areas separately, you will end up with
a patchwork effect. Another change
you will often have to make is to
darken the sky to pick out the profile
of the buildings — in other words, use
the sky to create negative shapes.

98 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 Your photographic viewpoint of buildings may
often be blocked by vegetation, lorries or building
work. lake the photograph anyway, for, as this
demonstration shows, it is easy to make
adjustments when it comes to the painting.

THE PHOTOGRAPH
‘This scene was taken on a painting holiday in
Kalymnos. I felt that the right-hand side
seemed heavy and dead, with the dark wall and
the foliage providing a looming presence that
detracted from the inviting feel of the simple
white buildings.

THE TONAL SKETCH

In the tonal sketch I corrected the imbalance by
lightening the wall and reducing the weight of
the foliage. I made the balcony on the left-hand
house the focal point
by putting some figures
on it, and used the
perspective of the right-
hand wall to point to it.

THE PAINTING
I felt this needed more
skyline to define the
terrain and I also wanted
to get as much colour as
possible into the barren
hillside. I continued the
changes I made in the
tonal sketch to hghten up
the whole picture on the
right. Finally, notice the
variety of colour I have
put into the white walls.

Greek Island Village,

30 x 40.5 cm (12 x 16 in)

BUILDINGS 99
 PI ow
ee eei aR DA IE = tw
ea LAE nae

Market Cross
ee er
at Malme
Cee es
sbur
eee
ys il OS OT
Spas silaga de Sopa
ie 3

In many towns you can find old buildings islanded in the

midst of modern life. While the temptation may be to
eliminate the new, the danger is that you may produce a
‘chocolate box’ painting. Instead, opt for a selective view
that celebrates the old while presenting a truthful picture
of the scene.

THE PHOTOGRAPH by using the edge and corner of the

I took this shot during one of my 25 mm (1 in) flat. While wanting to
workshops in this delightful old town preserve the liveliness of the scene,
in Wiltshire. While the relation of the I cut out some of the modern
buildings to each other makes a paraphernalia of cars, white and
satisfactory composition, there are yellow lines on the road and the
intrusive details that distract the blackboard menu for the restaurant.
atttention from the main focal point It often helps to add a few touches of
of the picture — the old cross. bright colour just for fun and cars
can usually provide that, so I did
THE PAINTING include a few, indicating them very
Although the market cross seems a simply. I decided to add some more
complex structure to paint, I’ve cloud to the sky and put in a few
managed to give a good general very loose figures to enliven the scene
impression without too much detail and add to the atmosphere.

100 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 12 in)
Market Cross at Malmesbury, 25.5 x 30 cm (10 x

BUILDINGS 101
The Hill

2=A Tiled roofs and cobbled streets are appealing as you

=|=
)<<
4_
wander round a town and make for an interesting
3a
4 photograph to look at afterwards — but in an
==
=
=|
= impressionistic watercolour you should not make any
3=
attempt to pick them out in detail.

THE PHOTOGRAPH eye is directed down the hill to the

I spent two weeks teaching in this distant lake, so I’ve removed the
lovely old town facing the lake and distracting figure of the woman
took a number of photographs of its coming out of her gate on the right
quaint cobbled streets with their and contrasted the sunlit house
mellowed buildings bright with pot against the lake, which in the painting
plants. The contrast of light and has regained the blue reflected from
shade here has confused the camera’s the sky. It is easy with this type of
light meter so that the sky and water scene to become distracted by the
have been bleached almost to white, cobblestones and paving and so miss
losing some of the charm of the view the point of the picture; just a
down the street. suggestion of a rough surface will be
quite sufficient. Notice that to restore
THE PAINTING balance and add interest I have added
More colour was needed here than is a couple of windows to the house on
apparent in the photograph, even in the right which in the photograph
the shadowy area on the right. The have been blocked up.

a VAL,
si
a
=>

=| &
/ =

102 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

The Hill in Orta, Italy, 25.5 x 30 cm (10 x 12 in)
PROJECTS: Buildings
pine

The 25 mm (1 in) flat brush will be your best ally in producing a

free, fresh approach to the painting of buildings, helping you to
avoid the temptation to put in too much detail. Make a special
effort to get more varied colour into the walls than you see in
these photographs, otherwise your paintings will look dead; the
flat, uniform colour that you take for granted in a photograph
will not be at all satisfactory in a watercolour. Remember always
to do tonal sketches before embarking upon your final paintings
and make any changes you feel will enhance the composition.
This is your chance also to enhance tonal values to give the
paintings plenty of definition and visual interest. You can find my
interpretations of these photographs on pages 126-7.

A I took this photograph on a beautiful putting in windows using just the corner
sunny morning in Bath, noted for the of the brush. You will probably need to
glorious colour of its stonework. Your mask out the church steeple. The trees
task here 1s to convey the busy on the right provide a good foil of soft,
architecture without becoming bogged free texture against the architecture of
down in too much detail — the 25 mm the bridge. The hake and the rigger
(1 in) flat brush will help here. Try should be used in portraying the tree.

104 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

<4 was asked to run a painting course in
Muscat, Oman, and this photograph was taken
im one of the city’s narrow back streets. Your
first thought on how to translate this into a
successful watercolour painting should be to put
more varied colour into the walls and ground,
as sticking faithfully to the colours in the
photography will produce a dull painting.A
robed figure might not go amiss to give human
interest to the scene — but remember to take
great care as regards the position and scale of
the figure. Try to retain the atmosphere of
antiquity in your painting.

<4 This is a corner of

Venice’s fish market. You
will need to convey its
bustle and colour,
perhaps by adding more
activity — the photograph
was taken at a quiet
time of the day. The
elaborate architecture
must be painted in the
simplest possible way.
The water could be
made more interesting
by adding reflections
and the sky darkened to
give the buildings a
stronger profile.

BUILDINGS 105
 OD ee ty
aif thi 2a : :

This chapter is something Snow scenes are great fun to paint. Woodland Stream,
of a new challenge, because You'll have a much stronger, more 40.5 x 30 cm
what I’m asking you to do contrasting pattern to your picture, (16 x 12 in)
here is to change the season with the shadows being mainly blue I photographed
that is portrayed in your on the snow. Winter scenes require this woodland
photograph to quite another plenty of practice with the rigger for river scene in
in your painting. You can authentic portrayal of delicate bare Devon in summer
choose to turn winter to branches and twigs. (below). When I
summer, autumn to spring — whatever came to paint tt
appeals to your imagination. It will SUBTLE SEASONS I decided to change
mean altering the whole colour Autumn and winter are seasons when the season to
scheme and atmosphere of the you can use the subtle effects of mist winter and make
painting — quite a tricky enterprise, to create atmosphere, Herenor it a cold, misty
while finding the skeleton of a winter course, the tones of the varloussayers scene. The colours
tree beneath the enveloping leaf of the landscape vary even more. therefore needed to
canopy of a summer one can be While your foreground objects will be changed from
downright difficult. be dark and crisp, anything in the various greens to
In this chapter I have shown you background will be painted very greys, browns and
some examples of my own to set much wet-into-wet, employing subtle mauves. Mist ts
you off on the right track. Don’t be tones. The whole operation gives you an ideal subject
daunted by these exercises — they can a real chance to exercise your for watercolour as
be great fun to do. Here more than imagination, and you will be it lends itself so
ever you should always do a tonal surprised at the interesting effects well to wet-into-
sketch before embarking on a you will achieve. wet treatment.
painting, though, because the whole
pattern of the scene may need to be
completely altered.

CHANGING THE PALETTE

In the summer and spring, you will
generally have a varying range of
greens — cool, bluey greens in the
background and rich, warm greens
in the foreground. In autumn the
distant trees will require mauves, and
for the closer ones you’ll need to
employ light reds and browns. In
winter distant trees become subtle
greys, with a stronger mix of browns
and blues coming in as you move
towards the foreground.

106 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

ae

F
ORS
Tay,
 Sere RIMS RTT 2 TRS kaa a)
Bysuaeke ‘aescogent PR RR RRSSE > A el a Heh

The River Wye

Here a summer scene takes on the browns and

mauves of autumn and also the chilly whites
and blues ofa snowy winter’s day.

THE PHOTOGRAPH
This is one of my favourite painting
spots on the River Wye near my
home. The photograph shows it in
the placidity of a summer day.

THE PAINTINGS
I have painted this scene in many
different weather conditions and here
are three of them. The painting
shown right mirrors the scene in the
photograph, with all the varying
greens of summer. In the snow scene
(far right, top) I’ve restricted myself
to blues, browns and greys and used The River Wye - Summer,
the rigger much more 30 x 40.5 cm (12 x 16 in)
to indicate the bare ae aE
branches. Notice that I =
have made no attempt to
pick out the branches of
the trees in the middle
distance, merely depicting
them in a mass of colour
stronger than those in
the far distance. In the
autumn scene (far right,
bottom) the distant
hills have more mauve,
complemented by the
rich browns and ochres
of the foreground. In
each painting the colours
are diluted in the
background and rich in
the foreground to give a
feeling of recession, and
the different sky colours
are reflected in the water.

108 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

 The River Wye -
Winter,
30 x 40.5 cm
(12 x 16 in)

The River Wye -

Autumn,
30 x 40.5 cm
(12 x 16 in)

Beto stingsTt PE

THE= FOUR SEASONS 109

 Saya

River Mist

By changing the composition as well as the season you

may end up with a painting that ts very different to the
photograph you used as your starting point. Such
experimental treatment is an excellent way of developing
your interpretive skulls.

THE PHOTOGRAPH THE PAINTING

This is a photograph I took in New By changing the entire colour scheme
Zealand. I liked the broad, smooth from that of summer to autumn I
shapes of the rocks contrasted with have given the scene a far more
the outline of the dead branches and romantic, moody atmosphere. The
the softness of the foliage, although I colours I used were Crimson
could see that to make a successful Alizarin, Light Red, Ultramarine,
painting I would have to adjust the Burnt Umber and Raw Sienna.
composition quite considerably. Restricting myself to this limited
palette has enhanced the feeling of
THE TONAL SKETCH harmony in the picture. I began the
In the tonal sketch I removed the painting by laying a soft Raw Sienna
rocks and mud in the foreground to wash over the whole background,
allow the viewer access to the scene gradually adding richer colours on
and created some sky in order to top of each other while the first wash
tniwodiuce depth of tield. Phe scene was still damp. I left various areas of
immediately looked more three- the river as untouched paper to give
dimensional. I also used some darker sparkle and contrast. Notice the
tones in the foreground and middle directional strokes of the hake to
distance to provide contrast. indicate the slope of the banks.

110 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

River Mist, 30 x 40.5 cm (12 x 16 in)

EBRESSINs

—F FOUR SEASONS 4111

 Shadows Across the Lane

In just a few weeks the changing of one season to another can cause a
scene to look radically different from the one you have photographed. When
you paint from your imagination, think about the alteration that the
landscape has undergone.

THE PHOTOGRAPH
Every autumn I used to teach at
Phillips House, a lovely mansion
near Salisbury, Wiltshire. I took this
photograph on one of my early-
morning walks in the grounds. The
Shadows Across the sun cast long tree shadows which
Lane - Autumn, showed up the profile of the tiny lane.
30 x 40.5 cm Notice that I have picked a viewpoint
(12 x 16 in) in which one tree is dominant.

112 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

THE PAINTINGS rather than the mauve I used in the Shadows Across the
As you can see, I have made very few autumnal painting. I decided to add Lane - Winter,
changes from the photograph in the yellow to the sky, while the ground 30 x 40.5 cm
painting on the left. By softening the was left mainly as untouched paper (12 x 16 in)
background I’ve given the scene with just a hint of yellow to reflect
more distance to the end of the lane, the sky and thus retain the unity of
drawing the viewer into the picture. (he picture:
The shadows stretching across the What I wanted to do in both of
lane enhance the feeling of sunshine these pictures was to capture the
in the scene. atmosphere of peace and quiet of a
In the painting above I have scene that always brings back many
imagined the whole scene under happy memories.
snow. With the leaves off the trees,
much more rigger work was required
to depict their skeletal branches. You
will notice that I have softened the
shadows and made them more blue,

THE FOUR SEASONS 113

 Bigsweir Bridge

SH — Tf you are particularly fond of a local view you will probably find that you
paint it repeatedly at different times of year in any case, enjoying its
nuances as seasons and weather conditions change. However, doing it from
the imagination only ts excellent practice.

THE PHOTOGRAPH
For 25 years I lived at the very top of the
distant hill that looked down to this bridge
spanning a slow-moving river some 180 m
(600 ft) below. The photograph here was
taken in very poor light in winter, so the
overall effect is rather dull and monochrome
— indeed, it could almost be mistaken for a
black and white photograph.

114 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

THE PAINTINGS In the second painting I’ve drawn Bigsweir Bridge -
In the winter painting I have upon the same photograph but this Summer,
increased the contrast of tones and time turned the scene into a summer 24 x 33 cm
colours considerably. I love the spot one, using various greens and putting (9° x 13 in)
and have painted it several times, a full leaf canopy on the trees. This
but have always found the girders exercise requires a good deal of
difficult to put in convincingly in a thought and imagination but is very
loose watercolour — in fact here I’ve rewarding. As always, the river colour
managed to avoid them altogether on is a reflection of the sky, and the
the right-hand side of the bridge! greens change from the cool blue-
You'll notice the high waterline on greens of the distant hills to the
the banks where the snow has been warmer colours of the foreground to
washed away. create a feeling of depth.

Bigsweir Bridge - Winter,

24 x 33 cm (9% x 13 in)
THE FOUR SEASONS 115
 — pp aia TT
Ti gt
Aee ee Se REaT OME TT: LTO| ERR

GALLERY

Travelling the world to composition for a painting you will Haystack Rock,
teach watercolour painting find that you automatically begin Oregon, USA,
gives me opportunities to also to frame your photographs with 30 x 40.5 cm
see many different types more care. (12 x 16 in)
of landscape. The drawback In each of the projects in this book While I needed to
is that there is never enough I have given you photographs to use do little to the
time to paint them! What as a basis for a painting. What I want general design here
there is always time for, to do in this chapter is to show you I made changes to
though, is some photography, and by what I had in mind when I took the the tones, added
the time I arrive home in England I photographs. I have made several sea mist below the
have numerous rolls of film. changes in the finished paintings in distant hills and
Not all the photographs will be order to intensify the original image generally tried to
suitable for painting from, but I try and atmosphere. Study each spread, vary the colours.
to return each time with a higher noticing the design and colour I reflected the
proportion of good photographs — changes I have made and comparing yellow of the sky
looking back at some taken a decade the paintings with the ones you have into the sea and
ago, I’m horrified at how little done yourself for the projects. This the pools on the
thought I put into the composition. final exercise will draw together all beach to add
As you make a practice of considering the threads in the rest of the book. interest and unity.
Approaching Storm over the Willamette River, Oregon, and orange in mind all the time and supplemented
30 x 38 cm (12 x 15 in) my usual palette with Cadmium Orange. I also
This painting was very exciting to tackle.While I used Crimson Alizarin and Payne’s Grey in the
did not try to reproduce the dramatic clouds in the background trees to re-create the variety of lights
photograph exactly, I tried to enter into the spirit and darks. It is probably obvious to the viewer that
of the scene and put in some obviously rain- I revelled in putting in the wet-into-wet reflections
bearing clouds. I kept the basic scheme of purple on the river.

Scottish Loch, 30 x 40.5 cm (12 x 16 in)

In this painting ve dropped the
horizon line, leaving more room for an
interesting sky while still allowing
plenty of space for the foreground. The
soft wet-into-wet sky creates a good foil
for the more sharply defined mountains
and the textured rocks in the foreground.
The little fishing boat has been added to
give scale, and you'll notice that the
rocky peninsula points to it.

3 GALLERY 117
Winter Tree,
28 x 35.5 (11 x 14 in)
In my tonal sketch I removed most of
the foreground shadow in the photograph
on page 64, retaining some undergrowth
to balance the tree. This had the effect of
leading a path into the picture and
through the broken wall to the trees
beyond. First I painted in the graduated
blue sky, then the wood, using warm
and cool colours to add variation and
alternation. I simplified the structure of
the tree and used dry brushstrokes with
the hake to indicate the twigs. I painted
the shadows quickly, making them less
heavy than in the photograph.

Tranquil Glade,
28 x 38 cm
(11 x 15 in)
My solution to the
mass of detail in
the photograph
was to throw the
background out of
focus, painting it
wet-into-wet with
cool colours. As I
moved forward
I used richer
colours. The main
object is the large
tree and I put
plenty of colour
and texture into
the trunk. I used
counterchange,
putting light
grasses against
dark and dark
against light.

118 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Green Symphony, painted with more contrast. I then turned my
29 x 38 cm (11%. x 15 in) attention to the foreground tree on the right, which
My first task was to paint a graduated sky and the was painted in lightly on to dry paper, but with
background hill together wet-into-wet. I then mixed the same mix of Raw Sienna and Ultramarine.
some rich strong greens, made from Raw Sienna Notice that there is plenty of variation in the
and Ultramarine, for the tree canopy in the middle right-hand foreground. I used my piece of credit
distance and this too was painted before the card to create the rocks. The last and most
background was dry to obtain a softened profile. pleasurable task was to put in the river with
On the bank below I added Light Red and Raw delicate, fast strokes of the brush and plenty of
Sienna to warm the area up. The rocks below were variation in colour.

GALLERY 119
Low Tide, balance, I added a tree together with its reflection
28 x 35.5 cm (11 x 14 in) to the left side of the scene and darkened the sky
The four posts on the right of the photograph were above it. I painted in the background trees before
too distracting and took the eve away from the the sky was quite dry to give a softness to contrast
boat. However, because they are a good link with the sharp outlines of the various boats. I have
between earth and sky I did not wish to remove restricted all detail to the foreground boat, leaving
them altogether. Instead I shortened them, which the rest of the painting loose and impressionistic —
much wmproved the composition but still retained another device to direct the viewer’s attention to
their important linking function. To improve the the main object of interest.

120 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Californian Beach, hill needed plenty of colour variation to make it
33 x 43 cm (13 x 17 in) more interesting, so I added weak Light Red to
In my painting I have overlapped the rock with some ofthe green. The large left-hand rock had to
the distant hillside, thus unifying the scene more at jen quickly and freely, but I still added
SO n purples and Raw Sienna for interest. Much
satisfactorily. I have also added a couple of figures;
of the sea was left as white paper, while the stretch
note that they are a different distance from each
of foreground water mirrored the sky, but with
edge of the painting. I have made the sky more
interesting than it is in the photograph by putting wet-into-wet reflections. Although I did not follow
in some wispy clouds and using Prussian Blue for all the contours when painting the sand, I did try
the clear sky. I felt that the right-hand background to gét in as much colour variation as possible.
Welsh Waterfall, are apparent in the photograph. I removed the
23 x 33 cm (9 x 13 in) rocks that jut into the frame at the bottom of the
The challenge here was to portray the movement of photograph, blocking the immediate view of the
the fast-flowing water by using fast strokes of the water. Notice how I have thrown the background
hake and leaving plenty of white paper. I wanted woods into soft focus by using wet-into-wet
to focus the viewer's attention upon the water, so technique in order to bring a feeling of depth to the
I subdued the surrounding features. However, to picture and create contrast with the hard-edged
add interest I put more colours into the rocks than rocks in the foreground.

122 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Springtime Bouquet,
25.5 x 23 cm (10 x 9 in)
I made no attempt here to paint
individual flowers — the aim was to
convey richness of colour and strong
contrast between the flowers and
foliage. P've varied the colour of
the foliage to avoid monotony and
added more flowers to the left. The
flower colours are various
combinations of Lemon Yellow
and Crimson Alizarin. P’ve
also simplified the bowl
itself, using wet-into-wet
colours.With these flower
paintings, freshness and
spontaneity ts all.

Smoke Bush with Roses,

20.5 x 25.5 cm (8 x 10 in)
Here I put in a wet-into-wet background
of pinks and orange. I also used the
same colours more strongly to paint the
roses, giving just a vague indication of
their petals. As the paper dried I
introduced much stronger greens and
copper, varying the colour of the foliage
and using hard and soft edges to show
up the roses. The cut-glass container 1s
merely hinted at. I decided before I
started painting that the golden rose on
the left was to be the star of the show,
so I lightened it considerably and
counterchanged it to emphasize tts
importance. Finally, I added a few
rigger strokes to indicate the stems.

re.
ae |
GALLERY 123
Silk Fantasy,
35.5 x 28 cm (14 x 11 in)
This is really a wild-flower painting.
I dampened the whole area behind the
flowers, using mixes of Crimson
Alizarin and Ultramarine. The greens
were mixes of Lemon Yellow and
Payne’s Grey. I repeated this medley
of colour as the paper dried so that
the top colours are sharper while those
underneath are diffused. As you see,
little attempt was made to use the
photograph, which was really only a
jumping-off point. The container was
painted in wet-into-wet and the
calligraphy was put in with my rigger
once the paper was completely dry.

Midsummer Madness,
28.5 x 38 cm (11% x 15 in)
For this painting I arranged
the figures in an arc to unify
them.As you can see, I placed
them on one side of the
picture and balanced them by
putting in a dark patch of
sand on the other side. I
eliminated facial features Gen ae
completely, trying simply to sag |
convey the action. The
shadows helped greatly. Two
of the figures are actually the
same child — I’ve simply
changed the clothing. P've put
more variation of colour into
the beach than was present in
the photograph.

124 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

Shopping in Windsor,
25.5 x 18 cm (10 x 7 in)
I first painted in the area of
sky that defined the profile of
the buildings, then used the
25 mm (1 in) flat brush to
paint all the architecture. I
left white paper for the lights,
but added colour for some of
the signs. Then I put in the
figures with the rigger, using
stronger colour for those in
the foreground. I decided to
leave out the pram but added
a child.

Flower Market, Venice,

23 x 30 cm (9 x 12 in)
Here I have again eliminated
all facial features as well as
treating the produce on sale
as simple patches of colour.
TPve also reduced all the
architectural detail. I’ve
made the whole scene sunnier
and more sparkling than in
the photograph, including
brightening the paving. It’s
not an easy subject to paint,
but simplification is a big
help here. Notice how I have
counterchanged the figure on
the far right, which helps to
balance the picture.

GALLERY 125
> Back Street in Muscat,
30 x 21.5 cm (12 x 8% in)
I felt that in my painting the drama of the shadowy arch
demanded afigure, so I added one in. A painting of this kind
requires more colour than 1s evident in the photograph for a
satisfactory result, and I conjured up both colour and
graduation in order to avoid monotony. You will notice this
especially on the ground and the left-hand wall. I have cleared
away the debris at the back of the alleyway to give more
dominance to the figure and have omitted distracting, and
modern, details such as the electricity cables on the right-hand
wall and the water pipes on the left.

126 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

<4 Spring Morning in Bath,
V Fish Market, Venice,
25.5 x 35.5 cm (10 x 14 in)
24 x 33 cm (9° x 13 in)
As always, the sky went in first after I had masked First I darkened the sky to pick out the
out the profiles of the buildings. To paint the profile of the buildings. I painted all
columns on the left I used a dark wash and then the right-hand buildings in one wash,
painted the areas between the columns in a darker
introducing various colours into the
tone still. All other detail was put in with the wet. I used dark, negative shapes for the
corner or flat edge of the 25 mm (1 in) flat brush. fish market to show up the pillars and
The trees were painted in quickly, using the hake, railings. A rich wash of Light Red and
the rigger and a fingernail. Many of the shadows Burnt Umber was used for brickwork,
were a mixture of Ultramarine and Light Red, and and bright colours for the figures to
the water is a mixture ofall the surrounding draw attention to them, Last came the
colours. I used white gouache to put in the seagulls. wet-into-wet reflections in the water.

GALLERY 127
Page numbers in italic refer Australian Peninsula The White Barn 60-1
to illustrations. depth of field 18, 54-5, 65, 72-3 Winter Reflections 62-3
TO, 4k, WANG Back Canal in Venice 96-7 Winter Shadows 58
design 22-31, 40-1, 80 Back Street in Muscat 126 Winter Tree 118
dominance 22, 25, 37, 41, 51 Bigsweir Bridge 115 Woodland Stream 106
a dry brush 76, 118 Bluebell Wood &3 Yellow Roses $4
alternation 22, 30, 118 Californian Beach 121 reflections 42, 66, 68, 69,
Chepstow Castle 20 GOs, Wis OBS, tale
e Cliff Path, Kalymnos 88-9 rivers 62-3, 66, 68, 74,
b enlarging 15 Donegal Lakes 48-9 HD MOG, NWO),
balance 225 28; 31, 36, 37, equipment 12-15 Evening Light, Severn iZols,, Wile
AD. 44), SOs S35 73> SOs estuaries 68, 78 Estuary 42-3 LOCKSHOOS 1 2aehose
102, 120, 124! Evening on the Loch 46-7
brushes 13, 68, 96 Fish Market, Venice 127
Hately 34506. O42); f Fjord in Lofoten 32 Ss
Wee fast and loose technique Flower Market, Venice 125 scale 88, 91
French polisher’s mop 84, 86 Greek Beach 4-5 seascapes 68, 69, 72-3, 78
13, 82, 84 figures 83, 88-96, 105, 121, Greek Island Village 99 seasons 106-15
hake: 6, 95 13, 34, 41, 44, AL, WAS WAT Green Symphony 119 shadows 22, 40, 58, 59, 64,
54-5, 56, 59, 62, 68, flowers 80-7, 123, 124 Grounded 22 Wilke hee Oily Ss, WO”,
69, 82, 96, 100, 104, format 74 Haystack Rock, Oregon, 12S TAS eS eleeet
LAO), Wilkes, WAG USA TI16 sketch pads 32
rigger 9, 13, 34, 44, 52, The Hill in Orta, Italy skies 38-49, 50-1, 62-3, 78,
54-5, 58, 62, 80, 82, 102-3 OSs! HOS teste
SOAS 1065 HOS) 1 135 POUACHeR Ep 2 OOo Goel Zu Tris and Fasmine 80-1 ie AG Aa 1227/
123, WA, WAS, 27) graduation 22, 27, 31, 41, Last of the Snow 44-5 snow 9, 44, 58, 62, 64, 77,
buildings 96-105 126 Low Tide 120 MOVE, WOES i 3i4 1S
Low Tide on the Severn 38 street scenes 8, 90, 92-3,
Market Cross at LOO=15 12S a lay
Cc l Malmesbury 100-1
cameras 12, 14 lakes 69 Market Square in Orta,
clouds 38, 40, 41, 44-5, 46, lead-in 16, 46 Italy 92-3 t
iO 00m 55,1 lal5 lenses 14 Midsummer Madness 124 tonal sketches 12, 19, 26,
121 light meter 38, 102 Misty Creek 56-7 32-7 Ao ON ewe
colour lighting 83, 84 Misty Hills 76 86, 99, 104, 106, 110,
experimenting with 82 Morning Sunshine 52 118
of sky 38-40, 108 Oregon Lake 70-1 tonal values 18, 20, 32, 104
variation in 11, 20, 126 Oo Porlock Weir 11 trees and woodland 52-65,
warm and cool 27, 29, overworking 66, 96 River Bend 59 7165 715335 L065 LOSS
BOs BA, 485 S55 OSs5 Tals River Gorge 74-5 Wee WS, Le
in water paintings 68-9 River Mist 110-11 tripods 14
colour wheel 6, 29 The River in Winter 77
colours 13, 29, 44, 46, 60, paper 13 The River Wye 108-9
OB, LWOS WI, Wiss cartridge 12, 32 Scottish Loch 117 u
LIQ, 121 tracing 12, 88 Shadows Across the Lane unity 22, 26, 31, 38-40, 74,
dropping in 82 transfer 15 HIV, TES SOG WA
in flower paintings 82, untouched 9, 34, 58, 62, Shopping in Windsor 125
W235 24! WO), 11. Ai, Wee, Ws Silk Fantasy 124
composition 16-21, 58, 64, watercolour 34 Smoke Bush with Roses Vv
65, 80, 100 Pencils S234 123 Variation ll 2253.0n 4 liners
and design 22-31 perspective 79, 99 Spring Morning in Bath WANS) Wales DNS), 12
contrast 16; 22, 24, 25, 28, prints 14-15 WAY Eh NAG
Silo D5 By HOS, AG, projectors 14, 15 Springtime Bouquet 123
5G, 05 O55 GO, WO, VW, Sun on Snow, Oregon 9
VARS Soll OnealOra22 Sunlit Daffodils 85 w
counterchange 37, 69, 82, r Tranquil Glade 118 water 38-40, 56, 62, 66-79,
84, 86, 88, 91, 123, Ranson, Ron Tumbling Water, Oregon 6 WOS5 A
IQS Afternoon Sunshine 1 Village on Kalymnos 31 wet-into-wet 16, 42, 52, 55,
credit card (as tool) 32, 35, Approaching Storm over Waterfall Near Glencoe 16 Noy DI5 OS, HO, WO, SA
55, 69 the Willamette River, Welsh River in Flood 66-7 SIDg iq Clos WO, LIL,
cropping 74 Oregon 117 Welsh Waterfall 122 WIS, WAM, WA, W238. 2

128 WATERCOLOUR LANDSCAPES FROM PHOTOGRAPHS

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 In WATERCOLOUR
PHOTOGRAPHS Ron
interpret photographs er
paint watercolours that
original. Several practical projects are
included, as well as essential advice on:

e taking suitable reference fe

photographs ' 2
¢ composing your
watercolours
e making tonal sketches
¢ painting skies, trees,
water, flowers, figures
and buildings

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