There’s a nice house and garage in town that’s set back from the street in the trees. I see it every week, and the light coming across the lawn is always so appealing. I’ve taken a bunch of photos over time. With a gloomy day today, it seemed worth revisiting them for a small sketch to practice capturing light across a lawn.
I’ve drawn and painted this scene before on pink paper, on regular paper, with a pink casein background, and now with a focus on warm and cool colors. I’ve been looking at Monet’s paintings, and he worked on the same scene on the Seine (which reminds me of this scene a bit) over and over again with different lighting and color schemes. Thought I’d give it a try with lemon yellow, cad red, and cobalt blue in a moleskine pocket watercolor notebook focusing more on color than value, trying to learn from Monet.
Messing around with an imaginary sunset thinking of Turner. Prussian blue, brown madder, and yellow ochre with a 3/8 inch sable flat brush in the 3×5 pentalic sketchbook. I was trying to see how more wet-in-wert painting would work on this paper. Not quite as good as on Fabriano artistico or arches, but certainly workable.
Interesting sky from the other night. Not exactly a realist depiction, but I was attracted to the warm clouds against a muted blue sky and wanted to see how to get the feeling down on paper after the fact. Prussian blue, nickel azo yellow, brown madder, and burnt sienna. 3×5 Pentalic watercolor sketchbook.
There’s a place in the Potomac River not far from my house that’s really peaceful. Not too many people go there. I tried to capture that sense of calm with an earth color palette of Prussian Blue, Burnt Umber, Burnt Sienna, and Yellow Ochre. I think I’d do this a little differently again with the hanging branch left of center. The even split of the picture feels a little jarring.
I used a small flat brush I converted to a travel brush and the tiny travel brush that comes with Winsor and Newton pocket kits. I always have the intention of using this setup when out, but tiny doesn’t necessarily mean faster. This took about an hour. Still, it was good to see that I can fit a fairly substantial scene in a small book.
For colors I kept it muted with yellow ochre, brown madder, cerulean blue, Prussian blue, sepia, and permanent green olive with a little white mixed in at the end for the lilly pads.
Here’s a close up. Thanks for reading.
I was in Gulfport, MS recently for work. I didn’t get a chance to paint while there, but got a nice photo of the sky over downtown (painted just now) on my way to dinner at Corks and Cleaver, a very cool farm to table restaurant with delicious food and a great atmosphere. Highly recommend it to anyone who goes to Gulfport.
The painting was done with in a Pentalic wayercolor notebook with Sennelier Yellow Sophie, Daniel Smith Prussian Blue, Schmincke Permanent Carmine, and Sennelier Titanium White.
Thanks for reading.