Lesson 2 - The Graduated Wash
This scene is painted in monotone, using Burnt Umber but any earth colour or Payne's grey will do just as well, provided that the colour is non staining. By using one colour or those in analogous relationships a sense of harmony is achieved, in this case the tranquillity is further enhanced by the simple shapes.
Before we begin to paint a short lesson in reflections is required. Lesson number 6 deals in painting water and it's reflections in greater detail.
The large body of water in this scene is still and the reflections are 'mirror like'. Where an object is directly at the waters edge we see a full reflection in it's entirety.
However when an object lies back from the water such as the mountains in this scene we see a reflection of only the upper part of the object.
To ascertain just how much reflection should be shown we must imagine where the waters edge would be if it went that far.
Shown in fig. 3a with a black line.
Fig. 4 shows all the reflections together.
Colours used
Burnt Umber
Brushes
Flat goat hair
Number 10 round
Number 4 round
Step 1
Using a medium strength mix with the flat goats hair brush begin to paint the background as you did for a flat wash. But as you work down the paper add more water to the paint so that the colour becomes lighter. At about half way down the paper start adding more pigment to the wash so that it becomes darker again. This slow changing of tones is called a graduated wash.
Step 2
Change to the number 10 round brush. As in lesson one, add the mountains and their reflections, building up the tones as they get nearer to your view. Keep the shapes simple, so that you can get the reflections right.
Step 3
Strengthening your paint a little more paint the hill and it's reflection.
Step 4
Change to the number 4 brush. Stronger still in tone paint the bank of trees at the waters edge and again it's reflection. When the paint is completely dry, dampen the point of the brush and run across the page at the waters edge and blot with a tissue, make sure to keep this line horizontal and flat. This removal of paint is termed 'Lifting out' or 'dabbing off', thus the reason for stating that a non staining pigment was required for this lesson.
In this case the lifting out is done because painting avoiding the very thin line would be difficult. At other times lifting out can be used to remedy mistakes, where a tone has been applied to darkly or to regain highlights when you have forgotten to reserve them. Large areas need to be lifted out with great care as a hard line can occur around the area.
Step 5
Finally with your strongest tone add the rushes and reflections in the foreground.
Copyright Jane Grainger 2004
