Methods / Painting Buildings, Focus: advantages of the beveled brush, Partial wiping, Splatters and projections, Colorful jellyfish
Painting buildings
The Taj Mahal
Prepare your color mixes in the palette in the form of creams. Moisten the sheet in all directions.
Let a multicolored bluish and pinkish wash bleed with magenta and cobalt blue.
If the paper has dried, rewet it moderately before depositing the colors. In the wet, deposit a dark green cream for the tree masses on the right (Schmincke orange and cobalt blue).
Still in the wet, deposit silhouettes of distant and blurry buildings. Little by little, the paper dries and your brush strokes will be increasingly precise. Start the dome of the Taj Mahal.
Quietly finish the silhouette of the Taj Mahal with a wash on dry paper.
Focus: advantages of the beveled brush
The beveled brush is perfect for buildings. It allows you to easily make right angles. It will allow you to draw oriental buildings and domes (see Taj Mahal here) by turning the brush tuft like a compass.
For domes, rest the gesture on the base of the tuft and turn it 180 degrees.
Partial wiping
Colombine
Partial wiping is a way to obtain effects that watercolorists are often fond of. It is used to make clouds... but not only!
Start by carefully drawing the character with a light mechanical pencil.
On dry paper, generously spread the Winsor blue wash in all directions with the large brush. Without waiting, let a little violet bleed (Winsor blue and a little magenta) in spots in places.
With paper towels, gently pump the ruffle collar and Colombine's face.
Then, with a faster and more determined gesture, remove the blue vertically on the costume, following the direction of the folds.
Let it dry and finish all the small details dry: the edging on the ruffle collar in ultramarine blue with a little Mars black, the two red spots on the cheeks, the hair...
For the eye sockets and the neck, prepare a skin color with a droplet of Winsor blue in very diluted Schmincke orange.
Use the initial violet wash to accentuate some shadows in the folds. Add a few spots of orange to illuminate the shadows.
Finish the stockings and shoes with a Mars black and a touch of magenta in a wash.
Splatters and projections
Cliff
On dry paper, place the vegetation at the top of the cliff with a yellow-green wash.
With the frayed spalter, make a few irregular vertical marks of burnt sienna (you will then complete them with Winsor blue following the same method).
Protect the areas not affected by the projections with paper towels.
Project by successive tapping (tapping the frayed brush against the handle of a pencil) shades of green: sap green and yellow, then sap green and Winsor blue. Let it dry between each pass.
Finish with Schmincke orange which must remain bright.
Paint the figure of the climber on the cliff.
Finish the vegetation at the top with passes of greens (from lightest to darkest) that you will let melt into the wet.
For the darks, add a touch of perylene maroon to the green.
Colorful jellyfish
Start by depositing the Schmincke orange in a dense wash with the medium brush along with a little burnt sienna.
Follow up with light cobalt turquoise then finish with ultramarine and/or cobalt blue.
Proceed in the same way for the second jellyfish.
Carve out light areas without rubbing, using the beveled brush loaded just with water, to recover "almost whites" in the oranges and wherever you deem it necessary.
Finish with the light cobalt turquoise filaments and projections in green and blue droplets.