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 Blakeney Hotel, Norfolk

Essential Supplies

The items you will need to complete this scene are as follows:-

Watercolour Paint
Burnt Sienna
Yellow Ochre
Raw Umber
Cobalt Blue
Charles Evans Sand
Light Red
Ultramarine Blue

Hooker's Green
Alizarin Crimson
1.5" Washbrush
3/4" Wash brush
No.8 Round
No.3 Rigger


In Figure 1 you will see Iíve done a fairly detailed outline pencil sketch and just blocked in my sky wash, which was very simply cobalt blue using my 1.5" Dalon wash brush then squeezing out the brush and suck out some light areas for clouds.  Then in the bottom part of the clouds, add a touch of light red to the blue and put this nice warm grey colour as cloud shadow.  Notice for the masts and white areas in the sky, I havenít used any masking fluid, Iíve simply washed out my 3/4" Sapphire wash brush, sharpened it between my fingers, and run a line down the mast to suck out the paint.

I've shown the distant buildings very faintly as I donít want these to be too prominent in the painting. For this I have used a mixture of cobalt blue and light red, and for the roofs burnt sienna. For the trees, these are just a few blobs of Hooker's green with a tiny touch of cobalt blue mixed in. The sandy bit at the base of the grasses, Iíve used the new Charles Evans sand colour, well watered down. 



The main building is a beautiful old building but quite difficult to paint because it's a mixture of flint with red brick interspersed. Now normally the colour of flint is a very difficult colour to make, Iíve simply used the Charles Evans sand colour and for this I have used my No.8 round Sapphire.  Then once I had applied the sand colour, I split the brush and stippled on dry brush strokes with a touch of raw umber, followed by a touch of burnt sienna.  For the red brick parts of the building Iíve used a mixture of burnt sienna and raw umber. 
In Figure 4 you will see that I have added the windows but Iím not painting window frames, I'm just painting window panes, with a mixture of ultramarine blue and burnt sienna, using my No.8 round brush, paint the panes leaving the outside edges white paper. Also to the building Iíve now added all of my shadow.

Still using my No.8 round brush and a mixture of ultramarine blue, alizarin crimson and a touch of burnt sienna, remembering that I want the light to be coming from the right. Quite simply, think what is going to cast a shadow from one part of the building to another part of the building, for instance look at the strong shadow to the left of the chimneys and underneath the window frames. 



In Figure 5 you will see that I have added some life in the form of a small group of people to the right. Donít get tied up in lots of detail, simply do blocks of different colour clothing and for any flesh that is showing (which is not much) Iíve used a mixture of alizarin crimson, yellow ochre and a tiny pin head of ultramarine blue. For the people Iíve used my No.8 round brush not forgetting again a little bit of shadow, the same shadow colour as in the building. Also, in between the building and the people, Iíve added the roadway and the steps using a mixture of yellow ochre and raw umber, for this I used my 3/4" wash brush.
Again donít go into too much detail with your boat. As you can see I have used lots of different colours, but if you look at boats in the harbour, there are lots of different blues in them. I've just used two, ultramarine blue and cobalt. I used my No.8 round brush for all of the boats, apart from the darker sides of the masts when I used my No.3 rigger brush and a mixture of ultramarine blue and burnt sienna. Remember again to cast shadow from one boat to another. You know that difficult colour that seems to be on the bottom of most boats as  it comes out of the water, it's simply light red. Note at this stage, that Iíve also painted the reflections in under each boat.



In the finished picture you will see that Iíve painted in the water and the sandbank to the left. Even though the new Charles Evans Colours are called the Seas & Sand, with the British sea colour in particular, if you water it down enough is good enough for any river not just the sea.  Thatís what Iíve used here, well watered down and then whilst it was still slightly damp, used a Charles Evans British sea colour, stronger, to denote some movement and ripples in the water, notice again with my 3/4" wash brush Iíve sucked out the white bits vertically for the white masts.

The sandbank or mud flat to the left Iíve used the Charles Evans sand and then once dried touched on with a bit of stronger Charles Evans sand and then put a hint of the shadow colour in over the top.  The sand colour is particularly useful as you will see Iíve used it in the building and also for the mud flat, as well as the sand bit in the far distance. You can mix the colour up or down to achieve any effect you want, make it lighter, make it darker, but also because it's straight from the tube, it's a very light colour but not opaque like white. You can use the sand to lighten other colours as a mixer.