A decision in this painting was whether to include the cars or omit them. I decided to include, which could suggest the old and the new blending together, or indeed that that are totally out of harmony with each other.
I used a hot press cartridge paper. Although watercolour paint does not absorb into this paper, quite as beautifully as on cold press watercolour paper, as long as you remember not to add as much water as you may with cold press heavier weight paper, working on this surface should not pose any challenges.
I started with a detailed line drawing, using a ruler to measure the major angles and perspectives. The horizon line was my first line on the paper, then the church outline, the tree, the buildings, the cars and the cast shadows in the pavement and road. I then drew in the lampposts, and worked on the detail further in each element. The drawing took about an hour and a half, a most enjoyable drawing experience. Always remember to take your time when making an initial drawing for a painting, there is no rush!
I mixed a wash of cerulean blue (70%) and cobalt blue hue (30%) for the sky. I used a large chisel brush, circular brushstroke, to paint in the sky.
Painting the colour of a High Street road. I mixed a chromatic black, burnt umber (50%) and ultramarine blue (50%). That was only the base colour. For a road do not use one colour, it will just look like a block of colour. If you observe a roadway, you will see, like anything else, it is not just one colour. I added further burnt umber to a part of my initial mix, and blue to another portion. I kept adjusting these mixes by adding small proportions of other colours, red and light red.
The road markings are a useful addition to this painting as they give a clear perspective not only to the background but also for the horizontal lines of shadow.
I used a waterproof pen for some of the smaller branches on the tree. I used a rigger brush for the larger branches and I mixed a dark chromatic for the colour of the tree, varying the tone by adding less water to each glaze.
The palette on this painting covers the whole spectrum. You will practice mixing greens, from light yellow, to the darker greens, that look almost black.
For the colour of St Andrew’s Church I used a flesh tint as an initial wash and for the glazes I added small proportions of brown, white and I used a blue mix for the shadow in the left hand side.
Underpaint all the trees with a lemon yellow, and then use your green mixes to add light and shade.
This painting took three hours to complete.