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Step 1 :
As you can see from this
first image, I have got the drawing done and the sky wash done. With the
sky wash I pre wet the whole area using my large brush then dropped in a
very wet yellow ochre followed by light red then cobalt blue mixed with
light red. Let it all swirl about a little bit before sucking out a
couple of clouds again with my large 1.5” brush.
At this stage while it
was still wet I used my ¾” wash brush to suck out the shape of the
millennium bridge which is in the foreground. Once the painting had
totally dried I filled in all the distance buildings behind the bridges
and to the right of the painting, with mixtures of cobalt blue and light
red, followed by little bits of yellow ochre here and there. You see
how important it is to keep all this stuff fairly weak and stubble.
You will see at this stage
that I have done the main Tyne bridge, but again I haven't fussed or
messed with this and I have used a mixture of cobalt blue and light red,
and its literally just the outline shape, no detail. |
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Step 2 :
In the next image I have put a little bit more
depth and shape into those bit of buildings. For this I have used
mixtures of cobalt blue and light red yet again, but this time darker
you will see at this stage I have also filled in the new Sage building
for this I have used you guessed it cobalt blue and light red. Give it a
little bit more shape by sucking out some light. This time with my Round
No 8 brush. But suck out the paint in a curved shape to give you that
rounded feeling. |
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Step 3 :
In the next image again using a mixture of cobalt blue
and light red I have put even more tiny details into the far away stuff
in the shape of windows and a bit of shadow into the sage building. Also
at this stage a mixtures of yellow ochre and tiny touches of light red I
have filled in the quayside walls down into the river and the base of
the sage.
This time with a mixture of cobalt blue,
alizarin crimson and light red I have filled in the shadow side of the
millennium bridge making this slightly darker than everything else in
the background.
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Step 4 :
With all the buildings on the left hand side,
its seems like I've done a lot here at this stage, but its just more of
the same but bigger and stronger. Mixtures of light red and cobalt blue
for the base colour of the buildings. Whilst they were all still very
wet, I dropped in some bits of yellow ochre, raw umber and light red, and
just let them all spread around. Once they had dried I added some
stronger raw umber here and there to the darker sides of the the very
large building which is of course the Baltic Flour Mill. Finally any
detail was put in using a mixture of cobalt blue, alizarin
crimson and light red. |
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Step 5 :
The quayside wall underneath this main clump of
buildings is done a lot stronger and I pre wet it all first then out on
a wet mix of raw umber followed again by my cobalt blue and light red,
but as I said everything is stronger.
The water was done firstly with a weak mix of
cobalt blue, then once it had dried I went on with a stronger mix of
cobalt blue with a touch of light red. Any squiggly or wiggly bits in
the water was done again with cobalt blue and light red, but stronger
obviously. |
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Step 6 :
For the boats in the foreground, obviously they are big and
strong and they are the closest thing to you in the painting but that
doesn’t mean that I want them to take over. So I have kept them very wet
and then whilst wet pop on some raw umber then some ultramarine blue and
burnt sienna to make a black, a few touches of yellow ochre on the top
areas then once they had dried add a little bit of shape and definition
with my shadow mix again which is of course cobalt blue, alizarin
crimson and burnt sienna. You will notice at this stage there are a few
chaps on the boat, this again was just done with the shadow colour.
Finally throw a little bit of that dark colour into the water at the
base of the boats.
I think that’s really quite an effective atmospheric slant given to
fairly iconic view of Newcastle and Gateshead. |
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