Kev asked us to bring along our watercolour gear (or acrylics if we had no watercolours). He provided paper that could be purchased @ cost and recommends half sheet size 300gsm rough Saunders or Arches paper.

The subject was a surprise and Kev supplied the subject drawing template material.

To start the day Kev instructed on how to set up the paper, easel and watercolours. He only tapes the top of the watercolour paper to his board. He likes to leave the paper attached this way to allow for the paper to expand as it is wet during the painting process. A border of absorbent paper towel is placed under the remaining edges to catch any overflow.

The group at Kev's workshop

 

Next he described the layout of the subject and how he approached painting it.

Describing the set up

 

First the hills are painted in using a base colour undertone such as Yellow Ochre. The dark distant tree impression colour is dropped into the Ochre while it's still wet and allowed to spread a little. Distant hill trees are blends of blues and purples to give an impression of distance when returned to later in the process.

First do the hills

 

Green golds and earth reds are used to fill the foreground in a very random fashion. This foreground is painted in as roughly as you like as it is really there only to set the scene and give the impression of a very bright and sunny area. Raw Sienna, Australian Green Gold, Burnt Sienna, Light Mauve, and Australian Red Gold are used in a most hap-hazard fashion, but tending warmer reds etc. towards the front of the work.

Next the foreground base colour

 

Light blue mountain ranges are washed in and allowed to dry after which The sky is washed in with some darker areas allowed to flow to hint at rain clouds. Paint this sky blue colour over the original Ochre hills as well as the blue ranges (do this quickly and don't go back over this wash, one go only please with a big brush, any further strokes will result in a muddy appreance). This gives a smooth unbroken wash of sky,hills right down to the mid and foreground with the distant trees, etc. As this wash dries add some more distant trees along your horizon with a thickish mixture of Ultramarine Blue and green, Sap or Viridian. Make sure this is done in a most random fashion. As this dries you'll notice the original Ochre starting to glow through this sky wash giving a very pleasant image of distance but still closer than the far off ranges.

The sky follows

 

Shapes of bushes and grass are suggested in the foreground.

Shapes placed in the foreground

 

Shadows in the building are made using darks and the shaded side of the walls is filled using red golds.

Building background is roughed in

 

More detail is filled in for background and foreground trees, bushes and the rusty roof of the building. The shaded side of the building is darkened with more layers of darker tints. A shadow colour of Ultramarine and Alizarin with Neutral-Tint make a very transparent tone which dries and allows the building colours to be evident. Shadows Must be transparent.

Buildings are more detailed

Finished!