FREE PROJECT - St. Andrews Hall, Norwich

Step 1

The first step is to decide what size of painting you are going to do and draw an outline box. I always use a set square and ruler to ensure I have an accurate outline which makes it much easier when mounting and framing the finished work.

Step 2

Next you will begin to sketch in pencil (2B is a good choice) the outlines and shapes of the building you are painting. Be careful not to use heavy or dark lines when drawing as these will show through the paint. If I am doing a detailed study of a gate or doorway I draw quite a lot of detail in pencil before I begin to paint (Fig. 1). I know other artists who barely put pencil to paper at all but I find it helps me to spend time at this stage doing an accurate drawing. I would not use this approach when doing a looser study of a seascape for example, I would only sketch in the bare minimum before starting to paint.

Fig. 1 Detailed pencil drawing

 

Step 3

It's now time to start painting. When using watercolours the basic principle is to start with the lightest shades and gradually build up the layers, finishing with the darkest colours. Look at your subject and choose the palest tones for your first washes of colour. Fig. 2 shows the first couple of washes, the stone on the building and the paving stones.

I made sure the paint in each section did not dry until it was completely filled. Adding plain water with your brush directly onto the paper and mixing with the paint will ensure the colour remains fluid and no hard lines will form. You need to work fairly quickly at this stage to get even coverage.

In the next example (Fig.3) you can see how mixing water with the paint on the paper can vary the shade. The left square was painted using only paint onto dry paper; the centre square was painted onto dry paper and water added at the bottom; and the right square was painted onto wet paper (plain water brushed on first).

 

Step 4

The next stage is to start adding darker tones and beginning to define some areas. I have picked out some of the detail in the carved stonework but still only loosely. (Fig. 4.)

 

Fig. 4

When mixing your colours always test them first on a spare piece of paper (Fig. 5) or at the side of your picture if you have enough room. This ensures you do not make a mistake as it is very difficult with watercolours to change once the paint has been applied to the paper.

Step 5

I have started to put some darker shades onto the paper, still in blocks of colour and not using fine detail (Fig. 6). You will notice how I have left the railings white by painting the areas in between. Another method of achieving similar results would be to use masking fluid. This is a clear or coloured latex fluid which is painted onto the areas you wish to remain white. The washes of colour are put down and when they are dry the masked areas are peeled/gently rubbed off and the white areas will be left. This is a much quicker method although I generally do not use it.

Fig. 6

Now that some darker colours have been added the picture is beginning to take form. Many watercolour artists do not use dark shades in their work and their pictures can be quite 'wishy washy'. The way in which I work is different and it allows me to achieve the detailed results that I am known for.

 Step 6

I have begun to define the stone arch, the doors and the glazed panes. As you can see from Fig. 7 the diamond panes are painted in Paynes Grey ( I never use black as it is too harsh, Paynes Grey gives a slightly softer finish) over the top of the light grey. Each diamond is painted separately leaving a narrow border between each one. This is very time consuming but the results are worth it.

Step 7

When all the panes of glass have been completed in the previous step, I have then over painted the light grey with dark lines to show the strong contrast between the shaded area and the area which catches the sunlight. I have also added the rest of the shadow on the floor behind the gates.

In Fig. 10 the stonework arch is more detailed, shadows are defined to pick out the three-dimensional aspect of the carving and the pillars. The first few tones of grey are applied to the wrought-iron gates in the areas which were left white in the previous steps. You will also notice how some of the areas of glazing have been softened. This is achieved by over painting these areas with a wet brush (water only) which allows the dark paint to blend.

Step 8

The final shadows and details are painted on the stones and gates. The painting is complete. (Fig. 11)

 

 Fig. 11. The finished painting