Joe Francis Dowden - Watercolour Paintings
www.joedowden.com
email: joe@joedowden.com
Lathkill Dale Tutorial
LATHKILL DALE WATERCOLOUR TUTORIAL
How do you make paintings look bright?
The choice not of the landscape, but of the
lighting conditions, has a big part to play.
Paint “lightscape’, not landscape. It can seem challenging to take this approach but here is how. When you look toward a low
sun, landscape comes alive. Even mundane scenes spark and fizz with life and energy when observed looking into the sun.
Tum the other way and the view can be dead and flat. Seek light first, landscape second. Here is how to paint it
‘The upper part of Lathkill Dale is a steep wooded ravine, running west - east, which means that an early moming stroll down
stream puts the sun ahead for some sparkling light. Some angles put the sparkle on the water but here I chose to seek sun
glints on leaves. Glints occur when the light source is ahead but out of the frame, and the light bounces or literally reflects off
any surfaces positioned at the angles where a mirror would reflect the sun into your eyes. Thousands of leaves act like little
mirrors, despite being nothing like as reflective. This is because the sheer power of the Sun. Painting into the sun tums creation
into a jewellers shop window.
Other leaves behave like coloured glass. Back lit leaves have sunlight shining through them — translucent - le little stained
glass windows they glow with colour. Colour is fresher and biased toward yellow when compared with normal leaf colour.
Other leaves are shaded. There are about three layers of shade in the painting. Bright colours are balanced by deep tones of
silhouetted solid objects and deep shadow. This gives the maximum possible tonal range.
Materials Used
Colours:
Cadmium lemon
Green gold
Bumt sienna
Light rea
Bumt umber
Neutral tint
French ultramarine
Brushes
Hog hair brush
Small well pointing brush 2 or 3
‘Two Sable brushes
4-8
410-12
Masking fluidGum Arabic
Indian ink pen
Fig 1.
Basic sketch, Pen nib masked leaves. Highlight on trees
and small branches — refer to finished image — all fine whites.
masked. A few spattered highlights using a toothbrush.
Figs 2. (and 3.)
‘A few hog hair brush masked highlights - very gently dab
fibres in masking fluid and touch these onto the paper to add
a little chaos to the finely mannered pen nib masked
sycamore leaves.
Fig 3.
Figs 4. (and 5. to 7.)
Ripped up paper forms the stencilled border for these
passages of thrown colour. Hurl some water from a well
pointing large sable brush — a 10 or 12, and then hut the
colour on, by banging the brush handle down on the
Uptumed palm of your hand. Work from bottom to top for
each swathe of texture, so the droplet sizes diminish withperspective. Do it once and dry it. The colour is Cadmium
yellow, Green gold, and Burt sienna. Use a lot of yellow.
Fig 5.
Fig 6.
Fig 7.Fig 8 (and 9.)
Brush the trees in with the yellow green and repeat the
‘spattering when dry, adding a dark to the mix —I used
French ultramarine and Bumt sienna,
Fig 9.
Fig 10.
With the paint dry, another layer of slightly darker spattering
before progressing to the intense dark created with a black
‘or neutral tint added to a little Phthalo green. Dry between
‘each layer of spatter. The twiggy forest floor to the left is,
lightly brushed with Light red. When dry a few black lines are:
roughly brushed over.Fig 11. (and 12.)
Build the darks with a combination of spattering and brush
work, drawing the trees with the brush and painting round
‘some leaf shapes while leaving some spattered shapes to
‘speak for themselves. Darks can be from French
Ultramarine and Bumt umber, Phthalo green and Paynes
‘grey or Noutral tint, there are many ways of getting strong
dark, More leaves will appear with the removal of the
masking, Green shadows from the trees were brushed onto
the foliage with Phthalo green and some darks from the
palette. Shadows enrich the green in the foliage.
Fig 12.
Fig 13. (and 14.)Add a little blackish blue wet into wet to the base of the
painting with a mix such as French ultramarine and Light red
used here, and dry it
Brush a small amount of gum Arabic onto the water area,
just a few strokes, not tolal coverage. Next wet the paper
and start adding yellow.
Fig 14.
Fig 15. (and 16. to 17.)
While it's still wet add more yellow, Burnt sienna and
Phthalo green, separately in vertical strokes,
Fig 16.Fig 17.
Fig 18.
Its all a bit of a mess, don't try to be tidy. Add the colours
wet into wet but ifit dries re-wet it. Add darks of tube black,
Neutral tint here, These horizontal darks represent the
tracery of bottom shadows.Fig 19.
The colours are buill up in the wet reflection mass area, and |
dragged out roughly over the dry paper below for tree
reflections and the reflection break up zone. The mass zone
is worked wet, the break zone dry.
Fig 20.
The reflections are finished and all masking removed. A
horizontal light was lifted with a damp brush.
Fig 21.
‘A few glinting leaves are touched in lightly with muted
‘greens from the palette, Masked tree edges are touched in
‘and some Cadmium lemon applied to the left side trunks,
Fig 22. Finished Image
(Click image for larger version - Image will open in
new Window)
Finished image.The foregoing was directly concerned with showing how this painting was done. This discusses
some of the thinking behind it.
Painting a scene like this is not about landscape, but your position in relation to the landscape — the place you are observing it
from, and particularly your position relative to the light. | paint light first, landscape second,
Light in your painting — where it is in the stream of time.
Light implies not just place but time. Impressionist painters sometimes painted a fragment of time as with Monet's poplars on
the River Epte, working several canvasses at a time work several days, working each for a specific time period each day to
capture the light at that time of day. Australian painter Ken Knight is an exponent of this, with an article in Intemational Artists
featuring him working several canvases throughout the day in this way. Light changes from one moment to the next. Light
behaviour is specific to this moment in time. In times gone by many traditional British painters where more concemed with
mood and atmosphere. The impressionist's approach was actually quite scientific. The approach shown here is influenced
more by French impressionism than the traditional English one. It has little to say about mood, atmosphere, and it avoids
sentiment.
Does that leave anything for the artist to convey? It leaves a great deal. It is a passionate treatment of the subject — bright
light in the landscape. Colour, heat, light, form, shape, line, texture and much more, combining in relationships on the paper.
Textures and pattems of light have to be kept distinct and separate to paint light, and just as important - where it isn't.
Light approaches the subject from a point on the compass and in the sky, Backlight and sun glints change according to the
precise angle of the light — a point on the compass. Glint — bouncing or reflected “mirrored” light, is returned from a myriad of
objects and not always shiny ones like leaves. The sun is powerful enough to tum matt surfaces like wood, stone, even a
brick wall into a mirror, The mirrored light can be rendered white on the paper. The textured distribution of this white light on
the paper is key.
In other words, don’t paint light, paint what ligh
doing.
ight
So why not pait
rectly?
‘Sun light is fantastically powerful and you cannot paint even remotely as brightly. Similarly the eye and visual mind have
coping mechanisms for bright sunlight, visual responses. Painting these visual responses to bright light makes the viewers
mind respond as it would to real sunlight. The white seems brighter than the paper. Knowing how to paint what light does is
similar to putting a gearbox on a car engine. The power source is the same but it will do more
This article was first published some time ago in Paint magazine — the journal of the Society of All Artists, | am a member of
the SAA and you can join too, Myself and fellow artists help all painters develop through the SAA.