Sunset Over Lagoon

Intro

Some of the other students were working on this photo earlier, and I wanted to give it a go, since the lighting is so unusual.

Source photo

Source Photo
Source Photo

Value study

001.value-study
001.value-study

The first wash of the value study is the neutral values, which is most of the sky and lagoon, except for the large clear portion of the sky.

002.value-study
002.value-study

The second wash for the value study are the darkest values, which are the hills and their reflections.

Colour study

003.colour-study
003.colour-study

The lagoon and sky are the same colours, Permanent Alizarin Crimson mixed with Aureolin, in various shades.

004.colour-study
004.colour-study

The midground and hills are mainly in silhouette, so very dark. Here I used a mix of French Ultramarine and Quinacridone Burnt Orange.

Studies Critique

The studies side-by-side for the class critique

Masked sun, painted lagoon

masked sun, painted lagoon
masked sun, painted lagoon

I first painted in the sun with a very bright Aureolin. After it dried, I applied some peabo masking fluid over the sun disc to keep it.

While that dried, I painted the lagoon in a rich Permanent Alizarin Crimson mixed with a bit of Aureolin to give it the orangy cast from the sky.

Lower right corner

lower right corner close up
lower right corner close up

Just a close up on the lower right corner to show the fun of watercolours blending together.

Bottom half

Bottom half
Bottom half

Day 1, dry

end of day 1 painting, dried down
end of day 1 painting, dried down

I took this on the copy stand after the painting from day 1 had completly dried down.

Day 2, wet-into-wet sky

wet into wet sky
wet into wet sky

Picking up during the weekend between classes, I went ahead to finish the painting. The sky was covered with a wash of plain water, and the same Permanent Alizarin Crimson and Aureolin mix applied, much lighter this time to keep it from being overwhelming, and leaving the very light areas.

Wet hills

wet hills
wet hills

While the sky was still wet, I put in the hills with the chromatic black of French Ultramarine and Quinacrodone Burnt Orange. I added a little Payne’s Grey to the mix as well. I rewet the upper part of the lagoon and put in the very pale mixture for the reflections.

Mask removed, added trees and more detail, darker values

trees and detail
trees and detail

Removed the mask from the sun disc. I added in the detail work in the image, including the trees along the lagoon edge, darkened the hills a bit more, and added the shaggy bits on the left. Put in the boats, and a few birds, because that upper right light area really needed something to do.

With an 8×10 mat

with 8x10 mat
with 8×10 mat

I initially planned this to be an 8×10 painting, and so put on a mat with an 8×10 opening (11×14 outer dimensions).

closer
closer
signed
signed
signed, full view of mat
signed, full view of mat

Final

Final version, cropped, straightened, with mat
Final version, cropped, straightened, with mat
Final version, cropped, straightened, without mat
Final version, cropped, straightened, without mat

Materials

Paper

  • Arches Aquarelles, 140lb cold press, 9×12, single sheet off pad
  • taped onto gatorboard

Paints

  • Winsor and Newton Aureolin (Cobalt Yellow)
  • Winsor and Newton Permanent Alizarin Crimson
  • Winsor and Newton French Ultramarine
  • Daniel Smith Quinacridone Burnt Orange
  • Winsor and Newton Payne’s Grey

Brushes

  • Dreamcatch round #14
  • Dreamcatch round #10
  • Dreamcatch round #6