Llantwit Major
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Based on a Photograph by my friend Bruno Thibault.
Just after Christmas one year, my husband and I went for a coastal walk, by chance Bruno was there too with his camera. He shared the photos of that lovely day with me and I have tried to capture the energy of the sea and low wintery sun. Full instructions are provided in my Art Workshops and Art courses whereby I tutor live and interactive via ZOOM. Not all themes are listed for Live tutorials however, those that are listed below or click here to go to Art Workshops & Life Drawing Please feel free to post your versions of Llantwit Major by joining the Facebook group- Penelope Rose Art Classes Art Materials
For a full list of Art Materials for my watercolour courses click here
or if you are using acrylics for this project visit my Various Mediums page clck here |
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Watercolour with Masking
Watercolour with Masking fluid.
Colours -
Raw Sienna for the first wet in wet layer with a touch of grey in the sky, Sap Green for the cliff tops and for the Greys and muted tones a mix of - Prussian Blue, Burnt Umber and Magenta.
Masking Fluid was used to cover the crests and crushing of the waves with a bristle brush covered first by some fairy liquid on the bristles to stop the masking fluid staying on the brush. This was applied to everywhere that left white in the painting.
Please pause and play the demo video to help guide you.
Colours -
Raw Sienna for the first wet in wet layer with a touch of grey in the sky, Sap Green for the cliff tops and for the Greys and muted tones a mix of - Prussian Blue, Burnt Umber and Magenta.
Masking Fluid was used to cover the crests and crushing of the waves with a bristle brush covered first by some fairy liquid on the bristles to stop the masking fluid staying on the brush. This was applied to everywhere that left white in the painting.
Please pause and play the demo video to help guide you.
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Acrylic with a palette knife on Acrylic Paper Acrylic Ground, Conté sketch & Acrylic underpainting
You will need Acrylics for this project.
I use a limited colour palette, of Cadmium Yellow, Cadmium Red, Primary Cyan Blue, Mars Black and White, with a palette knife working on top of an underpainting. Working from the back of the scene first moving towards the foreground I began blocking in shadow areas in the distance with muted tones, by adding grey to mixes of the hues. Less grey if any at all is added to the foreground colour mixes. Then I worked into the light areas from the distance areas to the foreground. After blocking in the main areas, I began working in more details, using the side of the palette knive to explore shadows between the layers and cracks of the cliff edge. Working loose and expressively.
For the ground, sketch and underpainting it is ideal to slightly watered down Burnt Sienna and apply roughly to the surface and allow to dry. For the sketch I used a saguine conté pencil and for the underpainting Burnt Sienna, Burnt Umber and/or Raw Umber can be used watered down to block in the shadow areas with the darker values layered up in the foreground areas such as the cave.
Please pause and play the demo video to help guide you.
I use a limited colour palette, of Cadmium Yellow, Cadmium Red, Primary Cyan Blue, Mars Black and White, with a palette knife working on top of an underpainting. Working from the back of the scene first moving towards the foreground I began blocking in shadow areas in the distance with muted tones, by adding grey to mixes of the hues. Less grey if any at all is added to the foreground colour mixes. Then I worked into the light areas from the distance areas to the foreground. After blocking in the main areas, I began working in more details, using the side of the palette knive to explore shadows between the layers and cracks of the cliff edge. Working loose and expressively.
For the ground, sketch and underpainting it is ideal to slightly watered down Burnt Sienna and apply roughly to the surface and allow to dry. For the sketch I used a saguine conté pencil and for the underpainting Burnt Sienna, Burnt Umber and/or Raw Umber can be used watered down to block in the shadow areas with the darker values layered up in the foreground areas such as the cave.
Please pause and play the demo video to help guide you.
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Llantwit Major Sketch with Charcoal
Before starting a painting I was like to explore the scene with a Charcoal sketch, to compose and consider the tonal values of the artwork. At this stage I feel I am 'getting to know' the scene and learning about it through drawing and making decisions to simplify and remove unnecessary details. My aim is not to copy a photography, because that already exist, it more to capture a feeling.
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