Page 2 - The CityScape of "Paris on the 25th" 

Got a question for the Artist.  Drop me a line using the Email button and I will add your question and my answer directly to the page.

I begin the Cityscape ( two areas), one to the right of Helen, and the other to the left of Michael's shoulder.

I use my masking fluid to outline Michael's shoulder and the the base of the column from the edge of the line of the sky to Michael's arm.  The building closest to the foreground has a light gray roof line so I am masking out this triangular shape too.

After close examination of the photograph, I select the area to the right of Helen to begin drawing the city shapes.  For distant buildings, I am going to focus on the shape of colors in the background rather than trying to detail the buildings.  This will magically happen on its me here.

cityscape2.jpg (688916 bytes)
Ahh...the graphite sketching of the city skyline...still more to draw...but I wanted to begin painting in some of the clearer details in the foreground...and more masking to protect the white areas where cars will be on the street along with the countless pedestrians...and also the beautiful fountain in the middle of the street...

No matter how small the detail, begin the first wash with water...just enough to wet the top surface level of the paper....then a thin transparent layer of the color I wish to use.  I will continue to build layer after layer.  For gray areas...I use Payne's least one layer of Pthalo blue for the lighter gray areas of the object...and then a Mauve layer...and then I bring that area to the intensity I am wanting with more Payne's Gray.

Notice the layer of layer of Payne's Gray and one Mauve layer...before it is done, I will add a touch of Pthalo blue...

I will come back to this area as the cityscape more drawing time...

cityscape4.jpg (117831 bytes)
I continue to draw in the shapes in the background....and when I need a change from the pencil....I begin to lay out small areas of transparent washes....I find this really helps me in defining some of the areas that I am trying to make some sense of...since the background city landscape is very complicated in both architecture and design ...and I love simplicity...

In painting the trees, I begin with a first level wash of yellow - (Gamboge) on top of the water wash and then work in the greens, starting with the lightest which is Emerald, then Oxide of Chromium and then Viridian.  I use Payne's Gray to begin the shadowing and it mixes nicely with the greens.  I then paint over the whole area of the trees with a heavier layer of Gamboge.  I will come back to the trees later.

Tips and Hints

Gamboge yellow is my most overworked color on my palette for base transparent washes.  I will begin this color wash for things that will end up in greens, browns, reds, flesh tones...geez...for almost every warm color going.    It is the perfect base for layer building.

cityscape6.jpg (61063 bytes)

Tips and Hints

My Palette in Action

Thought it would be good to show you my palette and where I keep it during my painting sessions.  I have several of these palettes, with two of them totally dedicated to specific painting requirements.  One of the two is for flesh tones only and I will show you a pic when I get into painting the faces.

Another reason I wanted to show you my palette, was to show how much water I use to mix with my paints and also how I arrange my colors in the cups.  Since the Cityscape is limited to only nine colors, this worked out perfectly for this size palette.   Working on an angled  drafting table allows me to mix my desired color intensity and then gravity keeps the mixed paint in the bottom of the cup.  I find this allows me to maintain a consistent color level of my paint.

Top left corner to right - Viridian, Emerald Green, Cerulean Blue

Mid left to right - Oxide of Chromium, Gamboge yellow, Payne's Gray

Bottom left to right - Opera Rose, Mauve and Pthalo Blue

cityscape5.jpg (131480 bytes)
I have now almost completed the first three layers of washes in the skyline buildings and structures....The Eiffel tower is now clearly distinct and I have straightened out the tower by blending in a touch of Cerulean blue and mixing the tower lines of Paynes Gray with the sky.    I move back into the drawing stage to complete the foreground buildings on the right hand side of the street.

One of things that I am noticing with this painting is that it is such a different format for me to paint this type of  background.  I rarely ever use this level of detail in my backgrounds.  My style of paintings has evolved to where my backgrounds are just a blur, much the same as opening the F stop on your camera and just focusing on your subject.  If you go into my Cybergallery and view some of painting's backgrounds you will understand what I mean.  Paintings such as " Lajos at Liberty" are highly detailed in the foreground and the background images are there but with no detail.

cityscape7.jpg (210860 bytes)
Continuing to move into the cityscape foreground, I am paying very close attention to the play of light on the foreground buildings. I am still building color shapes into the background.  I have just completed the Indigo layer to the background buildings in preparation to the Chinese White Wash that will soften the background, but I will wait for this wash until after I have completed the cityscape to the left of Michael's shoulder to ensure that I achieve the same level of intensity of colors to both areas.

I have begun to cut the finer details in the street below, shaping the vehicles and pedestrians....Still more indigo needs to go into the Eiffel tower base...but I will save this until the cityscape is almost completed.

cityscape8.jpg (118682 bytes)
I lay in the first two layers of washes in the remainder of the cityscape and I will add more color washes to build on these areas...
cityscape10.jpg (179598 bytes)
After completing the layers of washes to get the area to the intensity I am wanting, I allow the area to dry and then I begin the Chinese White washes to the background buildings just above the treeline...See how totally washed out the area looks...While the area is still wet...I take my Bounty paper towel as shown in the inset and gently dab out some of the Chinese White where I want the buildings to remain dark....

Now I wait for the Chinese White wash to dry....the background colors come back through but are the perfect blurry effect that I am wanting....

When the background is totally dry...I make a heavy wash of Titanium white and I do a quick touch up on the white areas of the background buildings.   Because Winsor and Newton Titanium white is an "AA" paint and I apply it fairly heavy, it will create a three dimensional effect to the background buildings.

The final addition of Indigo Blue for shadows in the buildings really provide a rich 3D effect.

cityscape11.jpg (178268 bytes)
I have just finished the triangular roofline in the foreground...This roofline is important to give evidence of  the sun's light .  The white ridge line of the roof along with the converging lines of the street buildings below will help carry the viewer's eye to the Eiffel Tower.  I just need to finish the parapet wall just to the right of Helen and then the background is complete.

I remove all of the remaining masking on the Pillar and Michael's right shoulder and left hand.

Now to mask our the area along the parapet wall to keep the paint from Michael's finger's and Helen's coat...

cityscape12.jpg (134092 bytes)
The Parapet wall has many colors that make up the concrete and the flashing.  The main color of the wall is brown...and not what I want to use to contrast with Helen's beautiful earth colored I am going to shift the color to pinkish grays...

I begin with the water wash...hmmm then a Pthalo blue wash...imagine....then while the paper is still moist, I add the following layers Payne's Gray, Opera Pink, Mauve and Indigo...

cityscape13.jpg (134566 bytes)
I let the paper totally dry...and complete a heavy spot coating of Yellow Ochre, Burnt Sienna and Burnt Umber.

Tips and Hints

Concrete Texturing

Concrete has a pebbled textured and I create this texture by wetting my #6 brush, then drying it with a paper towel...I open up the bristles and then dab the brush into the Burnt Umber then I dab the paint onto the watercolor paper.  Keep your brush as dry as possible and use a vertical thrusting action with your brush....Cover the entire area of the yellow ochre....

I now do a complete Chinese White Wash...let it totally dry...and then I build the same color layers as above....Pthalo Blue, Payne's Gray, Opera Pink and then I use the mauve to cut the edge of the concrete where it meets the sunlit top.

The Completed Cityscape

The cityscape is completed and I will come back to this portion of the painting in the final details....

Now on to Page 3 The Pillar....

 cityscape14.jpg (183910 bytes)

Got a question for the Artist.  Drop me a line using the Email button and I will add your question and my answer directly to the page.



Tell a Friend Add to favourites >