Got a bigger canvas, which unfortunately was not stretched decently enough to try out a big painting. I didn’t want to trash it of course, so I took a chance and made a couple of other small wet-on-wet sketches. I had a reference image for the first 2, while other ones are totally from imagination (and I guess it’s noticeable!). Also, the new canvas (first 3 pictures) has a really nasty tooth which I don’t like at all.
Also, Nickel Azo Yellow seems to be mixing a bit better with ultramarine (last one), while lemon yellow appears to be too weak, losing its tinting properties when mixed with white (first and third).
No electricity at home and a beautiful day gave me the go for another sketchwalk. I’ve been around a few hours and took quite a number of photosl and, indeed, sketched out a couple of views of this beautiful town! Here they are (click to enlarge):
Here are some of the locations on Google Maps (not all of them are accessible! 🙁 )
Lastly, when coming back home the weather started getting worse, and I had the chance to take quite an inspiring photograph, from which I made a 10 minutes watercolor sketch (below):
Continuing on the Watercolor academy of Art Tutor, in the last exercise I created a couple of simple snow scenes. I painted in the sky first, laying down a layer of phthalo blue on wet paper (around the mountain itself), then letting it dry, re-wetting and adding a thin mix of ultramarine and permanent rose to darken the atmosphere a bit.
It’s important to leave the mountain white, and gradually add in snow shades using cobalt + ultramarine + permanent rose. Lost and hard edges are vital to “form” the snow coverage itself. The last step is to use a dry-brush effect with some really thick burnt umber, varied and darkened with ultramarine blue to create a sense of 3d shapes in the rocks. As simple as it is, give it a go 🙂
By the way, the first one should be the Matterhorn…I guess! 😀
Using one of the references from the previous sketches, I tried with some color, without fussing too much with details. For the first one: cobalt, alizarin crimson, raw sienna; Second one: ultramarine, burnt sienna, yellow ochre, permanent rose, lemon yellow (just a hint, could as well be excessive). I painted the sky on wet paper, let it try, then used a smaller brush (Princeton Neptune n.10) to add the background hills with a pale mix or cobalt+crimson/ultramarine+burnt sienna. Wet-on-wet coming down the land and creating lines for the fields, progressively making the paint stronger and adding more yellow. I let it dry again and added the final field stripes and bushes.