Back to Main Site

 Suffolk Scene Watercolour Pencils


Now let's go to the height of summer. And a slightly more complex outline drawing this time, but obviously nothing to worry about.
This old cottage is one that I have painted a couple of times in both watercolours and oils. And so now we'll see how it reacts to the watercolour pencil treatment.


Essential Supplies

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

Watercolour Paint
Watercolour Pencil x24

3/4" Wash brush
No.8 Round



When I say a slightly more complex outline drawing, I mean exactly that, a few more outlines. Still no shading or fiddling.

I am not particularly bothered what happens at the base of the cottage because I am going to have a load of bushes there. This painting has a lot of distance but again it's just outlines.

I am not going to do too much drawing in the far distance as this will just be a few lumps and bumps giving the impression of far distance.

This one consists of mainly drawing in with the colours rather than taking paint off the pencil. Firstly, for the far distance effect, I am doing a few lines of purple-grey again not pressing on too hard. Into this a little coeruleum blue followed by a few touches of yellow ochre coming slightly further forward. Followed by a few touches of light red, then yellow ochre. Look at that, what a mess - just like a stick of rock. But remember I know whatís going to happen (he said hopefully). Coming further forward I want that yellow to be slightly stronger so I am changing to raw sienna.




For the clump of trees in the far middle distance I just simply scribbled in with a little bit of viridian hue and a touch of light red underneath the green.

The field next to it again raw sienna with a touch of viridian to the left-hand side underneath the trees, which will help to have a little bit of shading to that middle distance field.

Now this is all getting a bit messy and at this stage if you are not careful you could lose your way a little bit, so I am going to wet to where Iíve got to so far, and add the sky to transform all that mess into the picture so far. For the sky we will have a light summery sky. I am going to start off with a little bit of ultramarine blue taking the colour off the pencil with my ĺ" wash brush, stroking on creating a big sky. Still with the ultramarine blue slightly stronger for a few cloudy bits. Again wash out taking a few bits of cloud out. Whilst this is still wet Iím changing to my No.8 round brush and start to wet the areas for the distance, starting with the purple. Notice I said ďwhilst my sky is still wetĒ this way I get a light soft effect for my distance rather than sharp edges.





Now using the same colours again, starting with my purple-grey and my No.8 round brush, I am adding a few lumps and bumps and squiggly bits into the distance. Changing to a little bit of my Hooker's green, again stroking paint off the pencil with the point of my No.8 round brush. And we'll have a few more lumps and bumps, getting slightly stronger as they come further forward. Here and there, I am also adding a few touches of light red, to give a little bit more definition to the fields or hedgerows.

Now with that purple in the far distance, you start to get a lovely hazy effect giving you much more recession.

Now Iím taking a bit of Hooker's green off my pencil with my No.8 round brush for some bushy trees, slightly nearer which of course means slightly stronger. And again a few lumps and bumps into this area. Now can you see what I mean by youíve potentially got a chance of getting lost, whereas now you can see the start of a picture. 

This needs to dry slightly before I start drawing again into the big chunky foreground areas, such as the cottage and middle distance woodland.




Now Iím going back to drawing on with my pencil, and as strange as it may seem, Iím making this middle distance clump of trees darker than I have the foreground.

Now underneath that clump of trees I'm going on with a little bit of yellow ochre, good and strong, and a touch of my Hooker's green stroked in amongst this. At the base of the trees Iíve also added a tiny touch of ultramarine blue to darken even more.
Now for the water, and rather than painting the water on I am just daubing on in a stippling motion just to give a little bit more texture as this also leaves some dry bits of pencil showing through here and there. Now the depth and darkness of this clump of trees is going to really make the foreground areas stand out. At the same time of doing this I am also wetting that middle distance field and adding a couple of little lumpy bits here and there with Hooker's green to break up the line.



The cottage itself is going to be a fairly light colour, so I am stroking on first very gently with a little bit of raw sienna then a little bit of cool grey on top of this. For the front part of the building it's again raw sienna but this time with a touch of Vandyke brown, you will see that I have also put a bit of Vandyke brown on the chimneys and for the roof, light red and simply fill it in and yet again what a mess.

Wet the building merging all the colours, then whilst it is still wet with a dry pencil add a few touches of purple-grey here and there. This will help highlight the windows and add nice dark shadows where the roof joins the building, but interestingly enough Iím not going to wet these down, just going into the already wet building with a dry pencil.



Now it's back into the scribbling bits for the close foreground trees. For this I am using vivid green to start with, then a little bit of Hooker's green dark in amongst this. Then here and there a few touches of indigo, mainly where the trees meet the building so that I can get it really dark where one meets the other, this will again serve as a frame to push the building forward.

For the bushy bits to the left of the main tree behind the house I've added a few touches of raw sienna to the top area just to lift it slightly.
Now it's time for the water, merging the dark colours near the house up into the main part of the tree ensuring that I am keeping those colours near the house really dark and rich. You see now how that big clump of trees in the middle distance pushes all this stuff further forward.



Now into the foreground. Starting off with a bit of yellow ochre for the little smidgen of field in between the house and the foreground bushes. Also stick some of this yellow ochre, good and strong, into the top parts of the foreground bushes. Then in again with viridian hue pressing on hard to make these colours good and strong.
In the foreground field a little bit of yellow ochre with Hooker's green on top here and there and also some Hooker's green nice and strong on the little bit of bush to the right.

On the top bits of the bushes to the right add a touch of cadmium yellow just to catch a little bit of light here and there.  

Now it's time for the final stroke of water, still with my No.8 round brush. For those bushes under the house, again stippling on rather than stroking. I'm not going to wet the field behind these bushes, which I painted in yellow ochre. I am, however, putting plenty of water into the foreground fields; making sure that those colours merge together. Now I did say time for the final strokings, but that doesnít mean time for the final colour, because again whilst all this is still good and wet, I'm just going to add a little bit of purple-grey into those bushes on the left with a dry pencil onto wet paper which is adding a little bit more depth to this area.

And there we go a lovely little pastel summer scene.