| lor: #ffffff;" /> | | | | just the corner of the hake, begin painting the profile |
| Please note painting can be viewed via link below in | | | | of the trees that live along the top of the hill all the |
| author’s biography. | | | | way down to near the shore. |
| I love painting the Scottish lochs and this is one of | | | | With a clean brush add Raw Sienna below the trees |
| my favourites. I’m using 15” x | | | | to create the impression of grassy areas. Allow your |
| 11” 130lb watercolour paper and unless | | | | brush to just touch the green of the trees to allow |
| otherwise stated I’m using my large Ron | | | | some of the paint to spread into the Raw Sienna. |
| Ranson hake brush. There are the usual 7 colours | | | | The bank of the hill is put in with darker colour. Use |
| – Raw Sienna, Ultramarine Blue, Burnt Umber, | | | | various mixes of Burnt Umber, Paynes Gray and |
| Lemon Yellow, Alizarin Crimson, Paynes Gray and | | | | Ultramarine Blue to paint the shoreline. Remember the |
| Light Red though I’ll be trying to use as few | | | | dark shoreline will allow the white yacht sails that |
| as possible to keep the colours harmonious. | | | | we’ll put in later to stand out. |
| Start by wetting the entire paper with clean water | | | | The right hand hill is put in using the same colours but |
| and then adding a little Raw Sienna randomly across | | | | without the trees. Remember to make the shoreline |
| the paper both in the sky and foreground. Repeating | | | | nice and dark to contrast with the lighter toned |
| your sky colours in the foreground helps keep the | | | | water. |
| colours in your painting balanced throughout and more | | | | Make sure the paper is completely dry before you |
| pleasing on the eye. | | | | continue. Rewet the water area of the picture and |
| Add some Ultramarine Blue to your sky to create the | | | | quickly add the reflections of the hills into the water |
| impression of breaks in the clouds. Again, repeat the | | | | before the paper dries. Again, wait until the paper is |
| colour into your water to give the illusion of sky | | | | dry before continuing. |
| reflecting off the surface. | | | | With various mixes of Burnt Umber, Ultramarine Blue |
| To complete the sky we need to add some dark | | | | and Paynes Gray use broad sweeps of the hake |
| clouds. Mix Paynes Gray with a little Alizarin Crimson | | | | brush to paint in your foreground. You could even |
| and, starting at the top of the paper, add the clouds | | | | add a touch of Light Red to warm it up. |
| remembering to make them smaller as you approach | | | | When the foreground is dry, mix Burnt Umber and |
| the horizon giving the feeling of distance. Once again | | | | Ultramarine Blue to an almost black mix. If necessary |
| you can add a little of the cloud mix to the water | | | | dip just the tip of your hake in your water jar to |
| but keep it subtle. | | | | bring the hairs to a chisel edge. With your straight |
| Next we need to add the distant hills on the horizon. | | | | edge add the dark mud banks where the land meets |
| To help push them far back into the painting we use | | | | the water. |
| the same colours as the sky. Mix a weak wash of | | | | Next take a couple of credit cards or similar and |
| Raw Sienna, Ultramarine Blue and Paynes Gray and | | | | cross the two over to create a triangular template |
| block in the hills. Don’t worry about details, at | | | | where you will create a yacht sail. Using a slightly |
| this distance everything will appear the same tone. | | | | damp ¾” flat brush remove the paint |
| The two closer hills are put in with richer colour and | | | | and then dab with a dry tissue to complete your |
| more detail. Starting with the left hill, we’ll | | | | yacht. Repeat as necessary but remember not to |
| first put in the trees along the top. Mix Lemon Yellow | | | | overdo it. |
| and Paynes Gray to get a rich, dark green and using | | | | |