Painting the American Scene in Watercolor

Vainting the American Scene in Watercolor

Rocky Coast

Painting the American Scene in

IVatercolor

by yredric Sweney

REINHOLD PUBLISHING CORPORATION

•

NEW YORK

©

1964 REINHOLD PUBLISHING CORPORATION

ALL RIGHTS RESERVED PRINTED IN THE UNITED STATES OF AK1ERICA LIBRARY OF CONGRESS CATALOG CARD NO. 64-22427

DESIGNED BY FREDRIC SWENEY

TYPE SET BY GRAPHIC ARTS,

INC.

PRINTED BY HALLIDAY LITHOGRAPH CORP.

COLOR PRINTED BY THE COMET PRESS,

BOUND BY PUBLISHERS BOOK BINDERY

INC.

Dedicated to

to

our American heritage,

our beautiful and varied land,

ami

to all things that

but especially to

make Iwmg worthwhile,

my son.

Bill,

O

and

u.

my

o

wife, Ruth.

rva

I

('^

1-^

i-^

^

Color Illustrations rocky coast

2

covered bridge

19

touch of autumn

19

winter evening

30

blacksmith's shop

31

blue ridge mountains

41

swamp

cypress

41

southern quail hunt shrimp boat

52

big grass

54

net fisherman

54

LIVE

OAK

FIVE

52

71

PALMS

71

GRAIN ELEVATOR

71

CHURCH OF THE MESA

73

CANYON COUNTRY

73

GIANTS

92

OLYMPIC FOREST DISTANT PEAKS

94 111

GARDEN OF THE GODS

111

GRAND TETON

113

FISHING

THE WHITE WATER

113

WINTER ALONG THE BLACK CREEK

132

THE YELLOW BUS

132

SAWMILL

134

CARPENTER'S GOTHIC

151

Contents

'Introduction

7he

9

and the South

East

10

COVERED BRIDGE

11

TOUCH OF AUTUMN

15

EVENING FLIGHT

20

TROUT STREAM

23

WINTER EVENING

26

blacksmith's SHOP

32

BLUE RIDGE MOUNTAINS

36

SWAMP

42

SOUTHERN QUAIL HUNT

44

SHRIMP BOAT

48

CYPRESS

BIG GRASS

53

NET FISHERMEN

55

LIVE OAK

59

PALMS

63

GRAIN ELEVATOR

67

FIVE

Jbe Southwest CHURCH OF THE MESA

72

CANYON COUNTRY

78

GIANTS

82

Tbe

74

87

H'est Coast

MONTEREY CYPRESS

88

DRIFTING FOG

93

OLYMPIC FOREST

95

OREGON COAST

98

7he West

102

DISTANT PEAKS

103

GARDEN OF THE GODS

108

TOP

THE WORLD

GRAND TETON

7he TAidwest

1

12

114 118

GOLDEN HARVEST

119

FISHING THE WHITE WATER

125

WINTER ALONG THE BLACK CREEK

128 133

'J^iscellaneous

SAWMILL

133

THE YELLOW BUS

137

THE OLD BARN

142

REFLECTIONS

144

carpenter's GOTHIC

149

"Materials

ami

7he Use

of the

li'orkiug Procedures

Camera

154 1

56

Color Valelte

158

Bibliography

160

Independent Presbyterian Church, Savannah, Georgia.

Congregation organized

in 1755.

Introduction

of

the edifices built

all

by man none can compare

with the great cathedral of the outdoors given us by

Many

the Creator.

our

trees of

of us have enjoyed the stately

forests, the heights of

our mountains,

the wind-swept vistas of the plains, the pine woods,

and bayous

sloughs,

of the South, the wind-lashed

and then eastward

region,

and

Although

it

we would

gions

zines,

many

nessed with pleasure, and to others

who wish

I

scenes which

hope

to paint the

it

may

I

have wit-

be of value

American landscape.

Although the primary purpose of the book

hobby

guide the art student and the

hoped

The

more experienced

that

much value

in

painter,

is it

to is

artists will also find

and

not always possible to see the re-

is

and have longed

This book records

few

areas of the East.

erence material

on canvas or paper.

last

paintings bring us back to the mountains and coastal

shores of our coasts, and other beauties of the land, to put the scene

The

lowlands of the Midwest.

rolling

Uplands

to the Superior

wealth of visual

like to paint, a is

always available

Of

travel brochures.

satisfying to visit distant places

in

books, maga-

course,

make

is

and paint them on

no reason

use of the material that

more

is

it

the spot, or from material gathered there, but are unable to travel, there

ref-

is

if

you

to refuse to

A

available.

fertile

imagination stimulated by reading and photographs,

can be the foundation for

many

interesting water-

color landscapes.

it.

plan of the book

is

based roughly on the idea

It

has been assumed in writing this book that the

of a painting tour of the country, with specific infor-

reader already has a basic knowledge of

mation on the land forms of certain regions. The

handle the watercolor medium.

New

England and

The

text

how

to

and the

southward

progressive photographs reveal the author's approach

through the Appalachian mountains and along the

to each subject, the reasons for the use of certain

tour begins in

Atlantic

and Gulf

modern

coastal plains.

travels

There are paintings

and

techniques, the palette for each painting, and the

manner

in

of landscapes that are typical of these areas of the

plete

of colors, working tools,

East and South.

given at the end of the book. There

of a

Our

city,

an historical

a variety

painting trip then takes us through the

and canyon country Pacific

village,

of the

Colorado Plateau

mesa to the

Coast. After painting representative land-

scapes from California to Washington,

we

turn in-

land to the jagged, awe-inspiring Rocky Mountain

list

which the picture was painted.

com-

and equipment are is

ography of books that could be of value

who

A

also a biblito

any

artist

wishes to learn more about the geography and

geology of the country. Several good books are also listed for the benefit of readers

mental instruction

in

who may wish funda-

watercolor procedures.

J/^e East

The States

and southern parts

eastern

from

New

and the South lachians have a scenic grandeur of their

of the United

Gulf Coast to Texas provide a wide range of

the brilliance of

inter-

The Appalachian mountain to

tains, the skills,

system, which extends

as the

autumn

colors in

New

England

to

southern mountains in the spring.

To

Alabama, includes such

famous and beautiful ranges

that

the flowering of mountain laurel and azaleas in the

esting subjects for the landscape painter.

from southern Canada

own

changes with the changing seasons, and ranges from

England to Florida and across the

White Moun-

the east the mountains descend to the rolling

piedmont, or

Green Mountains, the Berkshires, the Cat-

foothills,

and then

to the coastal plain,

a vast lowland that extends along the Atlantic

from Cape Cod

the Alleghenies, the Blue Ridge, the Black

to the Florida

Ocean

Keys and then along

Mountains, and the Great Smokies. These eastern

the Gulf Coast into central Texas. This great coastal

mountains have been worn down by erosion so that

lowland includes large areas of

their contours are generally

the mountains of the geologically.

Mount

The

Mitchell

rounder and lower than

West which

is

many

in

the Black

less

LACH A PLftTE AU I

N

cities

and busiest harbors are

also

located along the eastern seaboard. In addition, the

than half the

VALLEY

marshes, eerie swamplands, acres of pinewoods,

country's largest

area

western peaks. However, the Appa-

ALL E&EHENY

farmland, great

and miles of beautiful sandy beaches. Several of the

Mountains of North

RIDSE f\PPf\

salt

much younger

highest point in the Appalachians,

only 6,684 feet high,

Carolina,

height of

are

fertile

is

rich in historical traditions of the colonial

and

Revolutionary periods.

ftND

BELT

FRONV

P1EDM.0NV

COASTOL PU\m

RE PRESElMT-ftTIVE CR O SS S ECTl O N OF THe. i^ppALACHiAfv ^AOurMTA^^< r,e.g)on -

10

COVERED BRIDGE Old wooden bridges in the East

are

still

found

and Southeast, but

this

in

many

one was

places

in

New

Hampshire. The large rounded boulders and rocks,

which are

characteristic of the

New

seen throughout the Northeast, half hidden in

woods

and

stones

in

England land-

fields,

that

once

covered

this

The

continental glaciers

part

of

As the

to retreat at the

ice

rounded boulders were

last ice age,

left

behind.

many

r\^

T )T L"

de-

I^EA/ SK-STC//

showing the cross-bracing on the

side.

The

gently

cascading stream leads the eye to the rectangular

soil

shape of the bridge, which

melted when the glaciers began

end of the

jr

I

cided on this three-quarter front view of the bridge

which were picked up and carried along by the subglacial ice.

random stepping

After trying several compositional sketches,

North America

scoured the land forms, loosening rocks and

like

shallow streams.

tz>

scape, are glacial debris.

and scattered

ragged outlines of

trees.

is

surrounded by the

The rounded shapes

of the

rocks provide a visual contrast to the straight lines

large

They can be

of the bridge.

11

The

sketch below shows

how

for the cross-bracing of the bridge

were projected.

Once

had been

the overall size of the bridge

mined and the

by drawing crossed

lines

from

C, the center of the rectangle

CL was

ter line

the crossed lines

D

A

to

was

D

located.

The

scene

to

cen-

A

drawn

diagonal line was next

A

line

AC

dropped from

The

is

is

until the

area

was damp-

the

was flowed onto the paper

by touches

was necessary If it

to

had been

of French ultramarine

keep the wash of aureolin

intense, the

sky would have

to paint the bridge, with suggestions of

young maple

sienna, ing

thus slightly re-

Winsor

tree

red,

When

had been painted, using raw

and Vandyke brown, the paint-

had reached the stage shown

at the

in

the photograph

top of the opposite page.

rounded forms

In painting the

established.

Masking tape was used

of aureolin

the sky color in the washes used on the roof.

the stream,

twelve by sixteen inches, and traced onto

the watercolor paper.

It

were used

until all of the

sketch was then enlarged to finished size, is

sponge

appeared too green. Vandyke brown and raw umber

this point to

proportion to the preceding one, and a

depth of perspective

which

wash

quite pale.

criss-crossed to complete the brac-

ing of the bridge. Each rectangle in

paper stayed wet, then a

a

next, followed

necessary vertical divisions were drawn. Each rec-

duced

The sky

ened with

blue.

line

forms

to the line that

This process was repeated

was then

the metal roof of the bridge.

with a large brush. Washes of cobalt were added

for the approximate

the base line of the bridge established the next ver-

tangle

used a slightly overcast sky to contrast with

and extended

crosses the vertical line

tical post.

I

landscape painting. For this

in a

thin

through the point where the center

the roof's edge.

and atmos-

phere of the scene

first

and from B

usually establishes the tone

then drawn through the center of

length of the bridge.

from

The sky

was estimated and drawn. Then,

rectangle, A,B,C,D,

was being

rest

painted.

deter-

principal lines established, the

of the picture

drawing while the

the vertical posts

I

earlier times,

of the boulders in

was reminded

of the glacial action of

was

aware of the continuing

but

I

also

process of stream erosion that determines the present

to pre-

serve a clean white edge along the borders of the

shape of the rocks.

12

A

combination of raw umber,

n^miMk

13

cobalt blue and burnt their color

and white

umber was used

highlights of paper

When

to indicate

were

bank

the sloping

had been painted

left to

in,

accent the forms and to draw the observer's eye to

and

the stream, which leads in turn to the bridge, which

reached the stage shown

is

To

the main point of interest. In

adding the autumn colors of the trees

a

it

was

in,

made

bridge did not become too strong, since this would

tree

have weakened the strength of the bridge form

the water,

in

raw

sienna, the picture

bottom of page

at the

falls

had 13.

being indicated by brush strokes

in the direction of

and sky

painted.

14

of

complete the painting, the stream was washed

the small

necessary to take care that the area underneath the

the overall design.

wash

thin

to the right of the bridge

using sap green, burnt umber,

colors

and the

The

the current.

were added cast

Some

of the

to the reflections in

shadow

of the bridge

finished picture in color

is

on page

was 19.

TOUCH OF AUTUMN

This painting was based on a photograph of a

mountain landscape

in

Maine.

the contour of the mountain,

In order to

ors in the foreground, a constant danger in

dramatize

landscapes.

Clumps

which was sculpted by

glaciation during the ice age,

I

decided to use only

this area,

the central section of the photograph as the basis for

the right.

my

shown

composition. By using a bright sky behind the

mountain, the mountain

itself

was placed

autumn

of paper birch trees,

were indicated on the

A

left,

typical of

and an oak on

winding stream rather than the lake

in the original

photograph was used to lead

the eye into the picture.

in partial

which are

The eye next

follows the

shadow. This use of backlighting subtly emphasized

contour of the oak tree to the sky and then goes on

the contours of the mountain and at the same time

to the crest of the

helped to prevent an excess of

Carbon

brilliant

pencil sketch for

autumn

mountain which

of interest.

col-

"Touch of Autumn." The edges were softened with

15

a paper stump.

is

the

main point

THE WHITE OAK All trees are

somewhat

individual beauty of

its

similar,

but each has an

own. Some are

straight

detailed preliminary study.

and

sign of the tree

However, the

was important

overall de-

to the composition

clean-bodied. Others are crooked and gnarled, un-

of the painting. Since the foliage of the oak

attractive to timber cutters perhaps, but full of char-

to lead the eye vertically in a zigzag path to the sky

acter for the artist.

Such

a tree

was needed

area, the design of the tree

for this

to

was not necessary

to

leaf detail.

The

small sketch of the tree form in the lower right-hand

Since the white oak plays only a supporting role it

used

be kept very simple

and not cluttered with unnecessary

painting.

in this landscape,

had

is

do a heavily

corner reveals the abstract design of the foliage.

16

THE PAPER BIRCH The sweep

of the birch trees emphasizes the di-

rection of the stream

and helps

In sketching birches

to carry the eye

is

contour, too

the mountain,

much

is

on

trees.

more

TTierefore,

subject.

as a color

mass than

States

varieties of birches,

painting are paper birches.

paper birch

is

as a unit.

as in-

It

is

but the ones

it

is

often associated with

right

New

clumps and

it

will

appear

left

of

in the final

must be treated

dimension must be maintained. The just to the

the main trunk. The whiteness of

must be subdued or the strong con-

tend to detract from the other elements of

the painting. I

began the actual painting of "Touch of Autumn"

by brushing

hori-

in

Maskoid wherever

I

wanted

to pre-

serve areas of white bark as contrast for the back-

zontal lens-shaped ridges. Although birches some-

times occur singly, they are

and

trast will

a thin, delicately leaved tree with a

creamy white or ivory white bark marked with

in

A third

the tree trunks

Although the

mass of

reveals the overall shape of the mass.

painting, the tree or group of trees

the

found throughout the northern United

and Canada,

England.

also of a

branches should not appear to project

There are many this

and

small simplified design at the right of the

Although only a section of

dividual trees.

in

The

main sketch

its

detail in the painting of the trees

would weaken the main birches are treated

and the accent

necessary to understand

the structure of a single tree

toward the white oak. Since the main feature of the landscape

it is

more often seen growing

ground of

fall

color.

I

then dampened the sky area

and painted in thin washes of cerulean blue and co-

clusters.

17

light to dark,

I

painted the nearest foliage

first,

then

progressed to the distant foliage leaving the main

mass of the trunk and branches

clear of color.

trunk was then washed with a grayed

The

by scraping

smaller branches were produced

into the dark area with a small knife.

bank

of the

of the stream

The

tint of cobalt.

The contour

was then indicated with a

very dark and not too wet paint.

The

foliage of the large birch in the

hand corner was painted with washes raw umber, and

of

upper

raw

ful

oak

tree

A

was

where the

was covered with an

After

to be inserted.

color

it

tion of the slope of the ple of the water

wash

of sap green

was glazed over the whole

The white oak was painted

next.

wash

of aureolin.

grassy areas were completed and the direc-

used to paint the mountain, and after

had dried a

overall

to the tree trunks.

burnt umber, with a touch of alizarine crimson, was it

for the color-

had dried, the Maskoid was removed and

was added

The

dark mixture of French ultramarine blue and

and sap green were used

sienna,

mass of the background birches. Then the whole

area bait blue, carefully leaving white paper

red,

sienna,

a dark mixture of ultramarine blue

and burnt umber. Alizarine crimson, raw

Winsor

left-

bank was

indicated.

The

rip-

was suggested by dry brushing,

a

few remaining darks were added, and the painting

area.

Working from

was completed.

18

CuN'LKLD Bridge

Touch of Autlimn

19

EVENING FLIGHT

Years ago

when

I

was

we

wonderful pond where ice

hockey

boy there was

a small

used to play a form of

There were muskrat

called "shinny."

took on the

soft,

muted

rest.

violets

At

twilight the

that

pond and

its

is

pond

is

become

balt for the distant ice.

the

drawn

Then

added.

I

green, burnt sienna,

the values did not go too dark.

the size of the

The

pond and

a

establish

sketch, reproduced here actual size, reveals It is

based on a

with the birds and pond boxed in by the

sweep of snow

in the

dark with only

little

of the ducks

The snow

and

foreground. In this painting

individual importance.

were made

ticular attitude of flight

to help decide

and

their

trees

in

were

and raw umber, taking care that

The

trees in the fore-

The on

slight

touches of green to lighten

them.

flat letter

trees,

red-violet

the trees are used primarily as a decorative element

and have

bank of snow

ground, which were painted next, were kept very

the trees.

the simplicity of the design. S,

and

in

painted the trees with a combination of sap

from memory. The mallard ducks landing on the to the scene

the

background and the background

water add a touch of

life

pond was washed

using cerulean blue in the foreground and co-

first,

reminiscent of

The composition

colors.

the ducks, the landscape could easily have

too

In painting the picture the

and blues of a cold

winter evening. "Evening Flight"

given to

If

a story-like illustration.

houses along the banks, and small patches of open

water where ducks would

much emphasis had been

the picture.

a

let.

Then

in the

mixed from burnt sienna and Winsor the ducks were painted

the dark areas

sketches

foreground was added, using a

and

in,

vio-

starting with

finishing with a light red-violet

wash.

their par-

Using a medium-size brush

arrangements in

20

I

added some

of the

21

smaller trees and branches,

making sure

and sap green, with blue strongly predominant. An

that the

branches were painted from the back toward the

appearance of wetness was established for the edges

front so that the tree forms would overlap. Brambles

of the thin ice along the water.

and ground brush associated with wooded and

of the

swampy

regions were also

The open water

in the

drawn

two ducks on the open water

surface of the water which

in.

is

small branches poking their

foreground was painted

The dark

in

silhouettes

establish the

deep shadow.

way through

the

A few snow

were added, and the picture was completed.

next using a dark mixture of French ultramarine blue

?w»-X»?y Evening Flight

22

TROUT STREAM This tumbling, cascading trout stream was filmed

Smm

with an

movie camera

in

North Carolina. The mountains Appalachians were not affected over

many thousands

rounded

the mountains of of the

by

Southern

glaciation, but

of centuries, heavy rains have

off the sharp peaks,

washing down rocks

from the higher elevations, grinding rock against rock until they no longer have sharp edges, the valleys,

Very

and giving the slopes

little

filling in

a gentle profile.

of the underlying rock

is

visible.

The

banks of the trout streams are covered with ferns

and

a variety of other plants,

wood, mountain

laurel,

and flowering dog-

and rosebay rhododendron

are seen in profusion throughout the countryside. In I

working out the composition for

this painting,

found that the eye had a natural tendency

the direction of the current,

and the

to follow

falls left

center

helped to keep the eye from wandering off the page.

The problem was ing place.

to get the

viewer back to the

start-

A lighter value was established in the water

at the point of intersection of falls

and rocks, and

this white area, bracketed by dark areas, forces the

viewer to look back to where the stream enters the picture at upper right. In painting the picture the

the painting first.

are

of

its

were painted

strength,

in

Notice that the rocks to the right of the picture

more rounded than the formations

that the of

much

dark rocks, which give

rounded rocks have

a

much

to the left,

and

greater covering

moss than the ones across the stream. Sap green,

burnt umber, and French ultramarine blue were used for the dark of the stones,

and

a

warming wash

of

burnt umber was brushed over the whole area. The

sunken log jammed between the stones and the of water in the foreground

sienna and burnt serves to

tie

swirl

were painted next. Burnt

umber were used

for the log

which

the bottom of the painting together and

helps to develop the rhythm of the composition.

The dense wooded washed

in

area across the top

was

first

almost as a solid unit rather than as indi-

vidual tree forms.

The

colors used were sap green,

burnt umber, French ultramarine, and raw umber.

When

this

was

dry,

were wiped out with

some

a sponge.

with water was used to

23

of the tree trunk forms

lift

A

brush dampened

out some of the pigment

for the smaller branches,

and

still

finer

were scraped out of dampened areas with a

The

distant trees

and

tions.

was used

to

draw

in

all

of this

attention

was

surface.

some branches

is

in

turmoil and has been

the water

had been

reflections,

clear

and

of the

still,

its

there

but the shadows would

be seen on the bottom of the stream.

to the rushing water.

shadows on the surface

If

would be surface

The

flow of

water was painted with green-brown and a mixture

areas of the painting under control,

was directed

Since the water

reflec-

aereated to a white froth, the shadows are on

to point-up the landscape.

With most

cast

knife.

and the dark blue of the far-away

mountain were painted next. After dry, a fine brush

Cast shadows should not be confused with

branches

The

water were

and French ultramarine

was

to indicate the highlighted surfaces of the

left

many

painted with cobalt tempered with burnt umber.

24

White paper

of cobalt

currents

and eddies.

blues.

Trout Strham

25

WINTER EVENING A tral

along the ice-lined shore of a lake

stroll

Park, with

its

ments, inspired the time Later,

hand

Cen-

places along the shore,

backdrop of skyscrapers and apart-

this painting of

New

York

City.

to

At

I

I

returned home,

remembered

visual notes,

I

had no

I

In deciding

first

to

toward

Fifth

was

trees.

Although

this

paint the park as late winter,

I

and there were few

leaves

view interested me,

remembered

lish the

mantled

in

it.

I

I

wanted it

snow. There had been

I

of the

noonday sun

first

had noted

in the

ice

was indicated

was

of the

park with the back-

decided on a

A

covering of

sketch to estab-

in the

proper season. Although I

step

some

I

had viewed the

late twilight setting

emphasize the

and blues

for the painting to

in

of winter. This lighting also eliminated most of the

minor

ice

details in the buildings

violets

and permitted

impressionistic approach to the background.

had seen waterfowl sunning and preening them-

warmth

in the

to

along the shore, but most of the lake was open water.

selves in the

I

scene at noonday,

on the

had seen

on the composition, the

a small sketch incorporating

snow and

in early spring since the level of the

quite low,

clinging

still

The guidebook photograph

ground suggested by the photograph.

view of the lake looking

Avenue. The scene apparently had been

photographed lake

a

make

information

postcards to serve as reference material.

One guidebook showed

few leaves

painting.

had excellent guidebooks and

I

of the trees.

a

which, however, had to be greatly simplified

decided to paint the

Although

it.

some

and

provided the architectural detail for the background,

had no camera or sketching pad with me.

I

when

scene as

in

the small sketch

at various

final size.

26

was completed,

it

a

more

When

was enlarged

to

Before attempting to paint this watercolor, cided to that

I

make

a simplified value

I

point of interest, which

de-

study to be sure

ures

understood the construction of the various

elements

I

lights at the

of

lake waters were treated as a single unit,

sky as well as an early evening twilight, the color

and the only major

scheme would be neutralized and

of the bridge.

values,

The

on the other hand, would be far more bridge, walks,

Tonal

duced

critical.

and ice-covered shoreline were

large

areas

a

The

reflection indicated

curving line of the trees intro-

The

birds on the

minor importance, were kept

were drawn with

square-sided Conte crayon sticks, the smaller forms with charcoal pencils.

27

was the arch

sweeping action and helped create the

sion of depth.

designed as simple forms, to direct attention to the

The

fig-

end of the inclined walk.

heavy snow, they could be drawn quite simply.

The dark

had decided on an overcast

simplified.

the grouping of small

Since most of the bushes were covered with a mantle

in the scene, particularly of the large ar-

chitectural forms. Since

and the

is

ice,

in a

illu-

which are of only very low key.

In executing the large

wet.

wash

for the

paper was kept constantly

sky, the

Dry

spots could have left un-

pleasant areas in the washes.

When

was ready

I

sections of the study

wanted

to

were traced onto the paper.

keep the main washes clean, and

I

With

too

many

confining lines, there

on the

I

did not

feel that detailed pencil lines of the buildings

needed.

The

few

to begin painting, only a

is

When

freely.

sired,

they can always be traced onto the paper

With

in

with the same color com-

The wash was run from

a

dark top to a

were

lighter base to indicate the reflected lights of the

often

distant street.

The snow

area

dampened, with

additional guiding lines are de-

was then thoroughly wet, not

clear water,

and cobalt and French

ultramarine blue were floated into place.

later.

just

I

took spe-

the drawing in an inverted position, the sky

care to prevent hard edges from forming, so that

with a mixture of burnt um-

the

snow would have an

washed

in

ber, alizarine crimson,

were begun bridge and

at the

and cobalt

contour

blue.

line of the

The washes snow on

walkway and were continued

of the paper,

picture.

was painted

cial

portion was

tom

right

bination.

a tendency to tint in the areas rather than to paint

them

large dark shape of the apartment building

later.

The dark

blues

and greens of the

open water of the lake were added next, and

the

to the bot-

which would be the top of the

The space underneath

were applied

overall softness. Accents

case

some hard edges were needed.

When

final

in this

the sky washes were in place and the

snow

cover had been indicated in a general way, the

the bridge also re-

shadow

ceived a slight wash of the same color.

28

sides of the distant buildings

were painted.

An

overall

wash was then

with variations

laid

in color separating the building units

from each other. After the washes were dry,

ened a small small

oil

window

The dark

over each building,

I

painted

damp-

brush with water and scrubbed out

areas,

which

street lights that felt

1

decided to add two extra

had not been

in

my

achieve the glow of the street lights

ened

oil

1

form indicated. Next the trunks were painted, with

and branches of the

Finally,

they were needed to help convey the idea that

land existed beyond the top of the inclines.

its

of the trees

and bushes were

original sketch.

faint

I

added the small

However, the

To

trees.

Other branches

also indicated.

figures are silhouettes

They

also helped to increase the depth of the picture.

and

darks of sap green and raw umber to indicate the

later received a tint of

light tips

In painting the scene

two birds on the water were

and then the white of the snow goose was

in

and branches

aureolin.

I

in,

scrubbed

areas of the

and are

figures.

Most

for atmosphere only.

figure in the red coat,

which provides

the only spot of brilliant red in the scene,

used the damp-

of the

cent point for the whole painting.

With

is

the ac-

the final

brush to wipe out some of the color that had

addition of flashes from the street lights, which were

erased with a typewriter

erased with the thin edge of a typewriter eraser, the

already been applied, then

I

eraser until the near-white of the paper

was un-

painting

page 30.

covered.

29

was completed.

It is

reproduced

in color

on

Winter Evening

30

4JwkX»-> Blacksmith's Shop

Costume Study

31

for "Blacksmith's

Shop"

BLACKSMITH'S SHOP As

I

walked along Prince George Street during

a brief visit to the restored historic city of Williams-

burg, Virginia, the blacksmith's shop attracted attention.

beat of

The

clang of metal against metal and the

hammer

boyhood when

my

I

me back

against anvil took

to

my

used to pause and watch the black-

smith shoe the farm horses, and

I

could smell again

the hot metal as the smith plunged the forged horse-

shoe into a tub of water to anneal

it.

were many other interesting shops,

I

Although there decided on the

attempting to compose the scene.

was made

blacksmith's shop as a subject for a watercolor.

Since there was

make watercolor

little

time and no opportunity to

sketches,

I

photographed the scene

a

movie that had been made of the

I

when

went over

all

I

was ready

I

all

made

size as the projected painting.

same

the

of the details were drawn,

was In

which does not

was added

exist in the actual village,

in the left side of the picture in order to

prevent the observer's gaze from wandering off the

to paint the watercolor,

of the material

a finished pencil

study, in which

building,

shops, costumes, and landmarks of the village. Later,

and then

working out the composition, the silhouette of a

for future reference. Additional reference material

was gleaned from

quite small,

A rough pen sketch

had collected before

page.

32

The

elm, a tree

important element color.

The

common

to Williamsburg,

composition of

in the

foliage of the elm

is

this

is

an

water-

used to bridge the

space between the blacksmith's shop and the corner of the building

and adds warmth

the key area

The elm

on the left-hand border. This softens

is

to the painting.

one of the largest of the

in the Atlantic states. Its shape, as

plified sketch,

is

similar to a

but near the top the branches ful arcs,

shown

in the sim-

narrow inverted cone, flare

outward

in grace-

the tips pointing toward the ground.

The oak base and,

in the right

foreground with

in this instance,

to curve the vision leaf

grow

trees that

its

symmetrical trunk

toward the point of

heavy is

interest.

used

The

forms of both trees were kept very simple

design so that they

would not

in

detract from the

buildings.

When

I

few basic

was ready

lines

to begin painting,

The sky

water and a

light value of

cobalt and

traced a

onto the watercolor paper, and taped

the borders.

into place.

1

While

this

was saturated with

area

was

clear

raw sienna was washed

still

wet, a thin mixture of

raw umber was painted

into the darker

A portions of the sky. Care had to be taken to keep the

quick study

was added

I

had made of the printer dehvering posters

to the

scene to force the

movement

of the com-

edges of the building white and the edges that would

position toward the lighter area of the building

outline the elm tree soft.

control the direction of the line of vision.

33

and

so

the

woman,

and the flowers were

the fence,

still

white.

The

were washed

lighter areas of the street

in

and

the darks of the chimneys were added.

Next

the siding of the building received a light

wash. The cast shadow of the planking was indicated with a thin

wash

of Payne's gray,

and the long

shadows across the building were washed

in

with a

combination of cobalt and raw umber. The corner near the street light received a light wash of aureolin to help intensify the suggestion of sunlight in the

picture.

The

woman

figure of the

near the house was

added. Her costume was treated istic

manner

was

since she

in

an impression-

a part of the painting but

not of major importance.

The hollyhocks and

the dark ground foliage in

the distance were painted, then the

were begun.

When

the

window

details

windows and doors were

completed, the tonal value of the street was lowered to increase the effect of sunlight.

The

blacksmith was indicated

background, then

in the

figure of the

the figure of the printer crossing the street

was

added. The printer's dark blue coat provides an important accent in the foreground. Like the costumes

woman and

of the

tume ever,

the blacksmith, the printer's cos-

treated in an impressionistic manner.

is

slightly

it is

more

detailed since he

is

How-

nearer the

observer.

Although the ture Although the figure of the blacksmith the shop

is

rather small

and

sketchy,

doorway

in the I

made

trees

was beginning

still

to

had

to

be painted, the pic-

have a semblance of unity. The

bricks were indicated on the chimneys,

which then

of

received an overall

a separate

wash

of

raw sienna

to

which a

touch of Winsor red had been added.

sketch to study the stance of the figure and the costume.

The

sign shaped like a horse's

and the

lettering

on the

large sign

head was painted,

was

indicated, but

not legibly enough to attract more attention than

it

deserved.

The

With

roofs of the buildings were painted next,

practically

all

of the dark areas

and most of

using a very dark mixture of French ultramarine,

the details painted, the trees were lightly brushed

Payne's gray, and cobah blue, with a touch of burnt

into place. This foliage

umber. These darks established a tonal key and the

not too

rest of the

A

washes were related to them.

subdued blue was used

for the

detail.

Only

a

few

sides of

forms are shown

and the

sides of the

building.

A

was painted,

few minor touch-ups of white were added for

followed by the dark grassy area. As the step-by-

accents,

windows.

painting

step photographs show, the forms of the

quite simply with

leaf

against the dark areas of the roof

shadow

the buildings, then the trunk of the oak

much

was treated

34

and the watercolor was completed. The is

reproduced

in color

on page

31.

35

BLUE RIDGE MOUNTAINS

This scene posite based

in the

on

a

a

com-

of charcoal sketches

made

southern Appalachians

number

is

of the valley,

I

felt

an out-cropping of rock

at the

base of the grove of trees was needed to establish a

The

and stone

from a movie taken along the Blue Ridge Parkway.

stepdown

The grove

fence indicated in the large pencil sketch were elimi-

of trees

made an

could have been the focus of the picture, but that the small cabin

by

fields

down

and

interesting unit

in the valley,

I

nated

felt

surrounded

the

smoke

and hem-

valley.

locks are often found on the lower slopes in this area,

and spruce and

levels,

I

fir

are

more

typical at higher

firs.

To add

gate

painting because they conflicted with

drifting

which

interest,

upward from

quite complicated, the if it is

trees along the ridges represent the darker

spruces and

level plane.

is

handled

work

in small

the plume of

the small cabin in the

In painting a picture of this type,

decided to indicate both types of growth.

The dark

in the

flat,

main point of

and patches of corn, would be more typical

of the area. Since oaks, hickories, maples,

to a

will flow

which can be

along smoothly

segments, and care

is

taken

to maintain proper value relationship.

The

to the illusion of the depth

36

basic lines from the pencil study were traced

37

on the watercolor paper, and the border was taped

The sky was handled very

to preserve a clean edge.

simply.

while

and

The

still

area

was

first

clear water, then,

wet a wash consisting of cerulean, cobalt,

a thin mixture of

painted

wet with

in.

To

tie

Davy's gray was quickly

the sky to the land

and

to increase

the depth of the picture, the cloud form

was pur-

posely incorporated with the principal mountain.

Cobalt was used distant mountains,

valley

in

varying values to indicate the

and the edge of the fog

was softened with

The back

a small sponge.

side of the ridge,

the tree foliage to

its

in the

crest,

from the fog area near

was brushed

in

with a

mixture of cobalt and French ultramarine. Payne's gray, burnt umber,

were added

open

and

light

washes of raw sienna

to indicate distant bald

mountains and

fields.

In painting the nearer fields,

which were treated

as individual elements, lines of trees

were used

to

separate the fields and to establish perspective lines

which emphasize the sweep distance.

38

of the ridge into the

Blue Ridge Mountains

Cypress Swamp

41

CYPRESS The bald

many

cypress

is

SWAMP

one of the most unusual of the

trees that forest the great

In painting

dark greens, blues and red-violets was laid

swamplands of the

southern Atlantic and Gulf Coasts.

When

"Cypress Swamp," an overall wash of

young,

in,

termi-

nating in the blue of dark water at the bottom.

While

the bald cypress has a symmetrical pyramidlike top,

the colors were

with up-turned branches and drooping cones and

sponged

needle-bearing branchlets.

With

appearance changes. As an old

time, however, tree, its

top and narrowing

at the

Near the bottom,

tapering trunk.

down

The

A

steeple-shaped projections,

seem

The

to

anchor the

sketch,

tree

more

as knees,

firmly in the

drawn with Conte crayon and

up

the

and not

It

moss

emblem

grows

at

all.

swamp.

indi-

enlarged detail on the oppo-

tree trunks

and

a

the Spanish moss was painted

in until all

trees

was

were

mossy in

next

then

individually

were completed.

areas for the

lily

pads were sponged out and

was painted

in.

When

dry, the shapes of the pads were

tree.

this color

drawn with

was

a color

matching the blue of the water. Opaque white was used to paint the egret to avoid sponging and scraping out the blue of the water with a knife.

is

Individual branches projecting at right angles from

of the South, can be treated quite

in great profusion,

of

a dark green

charcoal,

Spanish moss, which

in the

moss-covered

The

a grayish-green epiphyte, or air plant,

really a

almost an freely.

is

Some

brushed

Cypress trees are usually shrouded with Spanish moss, which

form of the moss was

with a neutralized violet and a gray-green. Each of

which

shows the geometric shape of the base of the

soft

few of the heavy buttressed

green.

the trunk flares into

known

were

painted, using browns, deep violets,

to a long

root system of the tree sends

of the sun

damp, the rays

page.

site

a wide, buttressed base that seems to disappear into

the water.

and the

shown

cated, as

its

foliage re-

sembles an inverted pyramid, wide, and slightly

rounded

in,

still

the trunks were carefully drawn.

hanging from the

branches and even clinging to the trunks of the

washed over the

trees.

tie

42

them

Then

light areas of the

together,

aureolin

was

whole picture

to

and the painting was completed.

^%

43

SOUTHERN QUAIL HUNT The bobwhite,

or quail,

is

hunted extensively

in

I

the low country of the Atlantic Coastal Plains, from the Carolinas through Georgia

though the "bird," as

many

it

is

and

northern and mid-western

with open

into Florida. Al-

called there, states,

found

is

is

it

The

in

as

and

and

press,

and bay

sedge, gum, cy-

it

and gum

has

its

trees

are

ent settings, set in

and a painting of a

broom-straw

fields,

number

it

is

sometimes seen growing

a

The photograph

grouping of pines similar to those

bunched

are

mature

in

A

in the

clump of young

the center foreground.

on either side and those trees

in

at left

in

The

the distance

which play host to the ever-present

nearly parallel to the ground, but toward the top of

of differ-

the tree the branches gradually change to an

quail hunt could be

open pine woods, pasture

lands, or along the brushy edge of a field.

along the

Notice that the lower branches of the pines are

waist-high palmettos, and large areas of wire grass. in a

common

Spanish moss.

has several varieties of palms,

The bobwhite may be found

although

taller trees

al-

share of pine woods, and cypress

trees, also

very

painting "Southern Quail Hunt."

trees cover large areas of the coastal

plains in the Carolinas and Georgia. Florida,

though

tall,

shows

broom

is

grotesque fomis and shapes.

black-eyed peas. Scattered pines, bull grass,

pine tree, which

southern coastal plains, usually grows quite straight

usually

as corn pone, grits,

background and occasional

fields in the

pines to lend contrast.

thought of as a true representative of the South, and

much a native symbol

decided on a sharecropper's garden and corn patch

direction.

However,

Notice also the delicate proportion of the

branches to the size of the tree trunks.

44

upward

A

zines are

thumbnail sketch (reproduced larger than the

original)

established the location of the pines, the

of the hunters,

tion lines.

However,

and the main sweep

outbuildings,

of the ac-

left

of the painting are so over-powering that the

eye

is

not led to the house and the hunters. Also,

A ors

palette of yellow-browns, blues,

was chosen before the

first

to suggest the time of year

composition appears too formal

down

painting

itself,

design.

In

the

the trees were reduced in size. This

1

Even though the hunters and simplified in the final painting,

I

it.

wash was

when

col-

laid in order

quail are

South. Greens play only a minor

hunted

part in this

was thoroughly soaked with water. While it was damp, the soft fonns of the clouds were brushed in with a combination of burnt sienna and cerulean blue. The blue sections of the sky were then the sky area

dog are greatly

gathered authentic

The outdoor magazines and

and earth

traced onto the paper and the border had been taped,

reference material for the scene before beginning to paint

and

After the house, the hunters, and the dog had been

wanted. their

the house

painting.

improved the composition and gave the landscape the open, spacious feeling that

drew

and the hunters and the dog and traced

since the tree masses are almost ecjual in area, the in

I

them onto the watercolor paper.

in this first sketch, the trees to

the

for this type of reference

Before beginning to paint,

fami house, and the outbuildings, the general place-

ment

good sources

material.

sports

maga-

45

washed

in

French ultramarine blue, and

with cerulean blue, taking care to preserve

the white edges of the clouds. dersides of the clouds

The

color of the un-

lean blue,

and the blue of the sky were

and

phere.

this section

and mixtures

of

raw

sienna,

was then dampened

in

Vandyke brown, and

raw umber were washed quickly

outlines of the trees

were silhouetted

The

was allowed

grass

part of the picture

touches of ceru-

against the sky.

allowed to meet to help give the feeling of atmos-

The lower

light

area between the trees

was sponged

While painting

this

over the hunters and the dog since they would be

depth to the landscape.

painted in later with darker and more opaque colors.

As the photographs

left

of the hunters

was

on the

show,

I

right.

dog and over the

Vandyke brown.

the house

trees, the sky,

to help

and the

helps set the washes quickly so there

Using is

less

work

a dryer

distant trees

careful to left to

illusion of

of the painting in progress

tree areas

and outbuildings.

to be

done

and the shapes

danger

and had painted around It

had not been neces-

later

not conflict with the

on the hunters and the

of the buildings

were

trees,

fairly simple

and presented no problems.

of getting undesirable water spots or runs.

The

was

This helps to give an

The underlying washes would

dry the background

grass areas.

I

sary to preserve any of these areas with Maskoid.

Before going further with the painting, an electric

was used

background

had run washes over the hunters and the

indicated with a combination of burnt sienna and

hair dryer

remove some of the color

maintain a changing value from dark on the

into place before

light

section to the

to

order to suggest the hazy look of far-away trees.

hard edges could form. The washes were swept right

The brushy

and the

to blend together. After drying,

A

were painted with cobalt and

46

combination of burnt sienna, raw sienna, and

Vandyke brown was used buildings.

wash

of

The

tin

roof

for the

house and

its

was indicated with

cobah and the

out-

a thin

were drawn

ribs of metal

The dead oak was drawn, and moss indicated.

A

stiff

its

round-pointed

covering of

oil

brush was

used to scrub the plume of smoke drifting lazily upin

added

back of the farm house. Dark bushes were

close to the house to help create an illusion of

depth between the house and the background

The added

trees.

pine trees to the right of the picture were

were

next. First, the middle distance trees

painted, then the larger, foreground trees.

A

fine,

long-haired brush was used to draw the thin, smaller

branches. In painting the pine trees to the the shape of the foliage

would not

the stalks were drawn, working from

The

long leaf forms of the corn were painted, using

transparent darks and some opaque color passages.

into place.

ward

Then

place.

the back toward the front so that they overlapped.

more abstract

left,

I

kept

so that

it

painted

literally

from the

ground up. Using a mixture of Payne's gray and

Vandyke brown,

1

washed

this stage

I

decided to move the dog to a posi-

tion directly in front of the hunters,

some brush between the hunters, them. Otherwise,

was going

it

in

the furrowed rows into

and

I

added

order to separate

might have seemed that the one

to shoot the other in the leg.

The dog and

the hunters were painted with dark transparent colors

and some opaque

The

colors.

fence posts around the corn field were indi-

cated with a dark brown, and while they were

still

wet, highlights were scraped in with a small knife.

The

smaller areas of underbrush and trees were

painted,

and washes

of greens

were flowed over some

of the grassy areas so that they

detract from the hunting scene.

The corn patch was

At

even

in color.

A

would not be too

few touch-ups and the painting was

completed.

"Southern Quail Hunt"

is

shown on page

52.

>i

W^.

V

\i

SHRIMP BOAT Name

any bright color and you

will find

it

Since there wasn't time to paint a landscape on the

in the

picturesque riverfront district of Savannah where

spot,

the shrimp

notes.

fleet

The shrimp

docks. boats are a colorful sight with gaily

dyed chafing gear hanging over the drying There

is

dock

is

The

big problem for

to

not what to paint, but what part of the

on the

later,

I

was surprised

piling indicated quite

I

took

this

interest to the

made

photograph, the river bot-

flotsam. This

was

later

enlarged

my

interest at that point.

used

foreground of the picture.

a small sketch of the scene to establish a

general pattern for the composition, and after

decided to center is

add I

divided dock that parallels the Wilmington

shrimp boat

looked at them

tom was covered with

River was like a magnet to me. After careful study I

I

was low when

scene to paint.

The

When

to find that the barnacles

always some activity to paint, whether the

to be repaired or painted.

took a series of photographs as reference

a difference in the height of the tide. Since the tide

nets.

boats are docked, or are coming and going to dry

the artist

I

I

made

it

detailed studies of the boat,

was and

individual sketches of the figures to be used in the

The

painting.

seen through the gap in the dock, and

I

also

made

studies of the perspective of

the dock, to be sure that the water remained

the distant view of the curving river provides an

final

interesting background.

ite

48

working

tissue

flat.

A

was made and then the compos-

chisel-edged pencil study reproduced below was

drawn

of the entire scene.

was made the same

The composite drawing

size as the watercolor

as possible. In painting the point of land across

and was

the docks,

muted

traced onto the watercolor board.

This painting was designed to move from a dark

foreground to a

light

areas were painted fully

masked with

background, and the

first.

from

the colors of the distant shore were

so that the feeling of a misty atmosphere per-

vaded the scene and

With

lighter

After the borders were care-

tape, the sky section

all

a sense of

depth was established.

the far shorelines established, the strong,

dark forms of the near piling and dock were added,

was damp-

using very thick paint and dry-brush technique.

The

ened and a pale wash of cerulean blue was brushed

loose handling of the piling, contrasted with the tight

with the color darkest near the top of the picture

rendering of the distant shores, also helped establish

in

and almost white near the horizon.

perspective and depth.

After this was dry, the contour of the far right

dock was then indicated with

shore was painted with an extremely pale tint of cobalt

river

was painted next with

pale cerulean blue. Using a wide brush

and

as

a

of the adjacent

few simple

free

washes of Vandyke brown and raw umber.

and sap green, neutralized with raw umber. The

broad sweep of the

The planking

Before painting the boat, the piling

a

When

few

strokes as necessary, the washes were kept as simple

and

the

figures

49

was necessary

to

mask

on the dock with Maskoid.

Maskoid was

the boat were painted

it

dry, the

and some

main divisions of

of the detail

found

forms and not with them. This method, also used on the second boat, established the shape and construction of the boats.

The tions in

green-yellows and yellow-brown of the reflec-

were painted next, and were kept very simple

form.

Vandyke brown, raw umber, and French

ultramarine were used in combination to paint the

mud bottom

with

After a

oil

stiff

its

generous supply of flotsam.

brush had removed some of the

greens and yellows of the boat's reflections in the in the rigging

was

indicated.

The

chafing gear, which

water, the reflections of the sky at the base of the

appeared to be made of frayed rope which had

been dyed a

brilliant

into place. After these

rose-red,

piling

was next washed

washes were dry, the dark

coiling his lines

and the second boat were painted.

and

hull of the principal

on the boat were

inserted.

These

The

enlarged progressive photograph on page 51 shows

in painting the

boat were

were added.

on the dock and the shrimper

the kind of brushstrokes that were used in drawing

the enlarged details of the painting in progress

show, the brushstrokes used

ripples

figures help to establish the scale of the picture.

red trimming, the dark areas in the stern of the boat,

As

and some wave

Finally, the figures

made

the figures.

cabin

The

across the

50

painting

is

reproduced

in color

on page

52.

51

Southern Quael Hunt

Shrimp Boat

52

BIG GRASS

Along the Atlantic Coastal Plain where the edge of the land meets the sea and

its

tides, there

is

flowed across the sky area. While wet, areas of raw sienna and

a vast

The paper was then

expanse of saltwater marsh. Meandering streams

and

rivers seek their outlet to the

is

a high

and

zon and

made

very dense growth of bull grass, but only a few trees are in evidence. This of birds are seen,

is

the land

where the

where distant

I

first

watercolor of lished the

viewed it.

A

this area,

I

wanted

The

to paint a

water-

to

was completed, the grassy

areas

distant trees

and

were drawn

leaves

into place,

and

their

were indicated. Then the dark

define the

A long-haired tall

stalks

striping

of

brush was used

weeds and the small

branches that grow along the banks of the waterway.

Some

in the

highlights

were picked out with a

Others, particularly in the leaf forms of the

sky, leads the eye to the point of interest.

knife.

tall tree,

were added by sparse use of tinted opaques.

fisherman and his boat were sketched on the

A

few

heavier accents were necessary on the tree trunks to

watercolor paper, the horizon was placed, and a few trees

the sky

were painted.

ways. This pyramid, boxed by the sparse trees on

The

possible to give the higher clouds a firmer

area of the water and the fisherman and his boat

pyramidal form, which seems to explode near the

each border and the movements of the clouds

rotated so that the cloud forms

finishing near the zenith of the sky. This

tree trunks

main theme. The design was based on a

many

Winsor red were added.

were painted, using burnt sienna for the main areas.

quick thumbnail sketch estab-

fisherman poling his boat on one of the

it

When

migrating flocks of winter birds find sanctuary.

When

very

still

edge, thereby increasing the feeling of height.

flights

hunted, and where

rail is

was

could more easily be painted starting near the hori-

ocean through

miles and miles of marshland. There

this

complete the scene. The completed painting

were indicated. Then the paper was soaked

with water and an overall wash of aureolin was

duced

in color

on page

is

repro-

54.

In simple designs such as this

where

there are few objects to indicate

depth and perspective, to

53

it is

necessary

keep a very close control of values.

V.

)M

-f^p^'m

r Net Fisherman

54

NET FISHERMEN The west

or Gulf Coast, of Florida

coast,

The boat was added

is

to a scene

from a nearby

fringed with rivers, bayous, and bays, and a chain of

to establish a strong point of interest.

off-shore islands extending almost the

ing

the coast. Within the protected

sweeping coastline are lages.

These

villages,

many

full

length of

waterways of

picturesque fishing

though

this

A

vil-

with their collections of drying

nets, their colorful iishing shacks,

and the blue

white clouds, and hosts of pelicans,

gulls,

sea birds found in Florida, provide

many

ing.

and other

hull,

at

Cortez, on

quick sketch established the plan for the paint-

Sweeping cloud forms point toward the its

roof-line directs the eye

The

hull also forces the

was mae from scenes photographed with an

The

does not appear in the actual scene.

the netter's boat.

This painting of a typical Florida fishing village

Sarasota.

it

yellow umbrella and the point of

excellent

Anna Maria

8mm

larger

toward the

interest,

which

is

piling that overlaps the green

eye toward the point of

interest,

as does the direction of the bills of the pelicans

and

The

fact

the angles of the wings of the soaring gulls.

Island near

colorful natter's boat with

A second build-

also added, near the center of the picture, al-

shack, and

skies,

subjects for watercolors.

movie camera

was

village

that the yellow umbrella

is

surrounded by dark areas

green

also forces the eye to the netter's boat. In addition,

orange trim, blue stern, and yellow umbrella

the hull of the larger boat stops the eye from wander-

was photographed

in

its

one of the nearby channels.

ing off the page.

'^

55

Before painting the scene, individual studies were

made

of

many

movies taken

pen

of the details of the scene based on

at different times

Some of these studies

The

intriguing, but

are

shown

and

in the

middle a

little

ier

this picture like

as are barnacles

was made

at

show

tell-tale sign that

low

on the

tide, the

forms of the barnacles are

The sweeping

line of the

the otherwise

monotonous front

simply

time has

Most

of

boats,

The

in the

coffee can over the

lower right-hand

The

pelicans,

the sketch, were painted very

in

the watercolor. in

the

main

outlines of the scene

on

and birds were protected with Maskoid. The

sky area was wet and then an overall wash of aureo-

of the building. is

bars.

the watercolor paper, the contours of the buildings,

ball-

in evidence.

the netter's boat

in

After drawing

Since

rounded,

much

posing somberly

drying nets adds interest to

The yellow umbrella on

to blow.

sketch keeps the rain out of the stack.

their age.

pilings.

and

seas of the inlets

exhaust stack of the boat

swing and sway and sag

as they begin to

Loose shutters are also a

marched on,

to

wind were

frequently go into the gulf and have to run the heav-

here.

shack built on piling driven into the sandy bottom of

The shacks tend

a quick gust of

these boats have built-up splash boards because they

different places.

sketch of the fishing shack shows a typical

the bay.

if

makes you wonder what would hap-

lin

was

mixture

quite

56

applied.

of

While

French

this

wash was

ultramarine

still

damp,

a

and cobalt was

57

painted into the sky and

left to dry.

ever,

it

was not objectionable

When

the sky

was

Before removing the protective film of Maskoid, the

As the painting

dried, a granulated texture of blue developed.

How-

The

in this case.

dry, the

form of the

basic

Maskoid was removed

nets

large boat

was painted.

and

local colors of the boats, hatches, piling,

were painted next.

it

was

section while another

was

In painting these areas

work on one

and washes of Vandyke brown, French ultramarine,

possible to

raw umber, and burnt sienna were applied

drying since most of the washes did not interfere

buildings.

The

to the

step-by-step photographs on pages

how

57 and 58 show

with each other.

A

the watercolor progressed at

this stage.

Before painting the water, a coat of applied to

Maskoid was

it

piling

piling.

This

dividual washes

to

add texture

ultramarine, cobalt, sap green, and

Vandyke brown were used

to lay in the first

to the

used

detract from

when

a

their

With

all

of the

washes dry,

final details,

such as

the figure, the small wavelets, the birds in the sky,

These washes were carried

wires and lines, and the silhouette of the distant

reflections

by

in their use at times. If

may sometimes

effect.

palms on the far shore, were added.

had been painted with

the Maskoid. After these washes were dry, the edges

some of the

harm

and

directly over the areas that

tions created

using opaque colors in a watercolor

see no

I

artists

use will enhance rather than detract from the total

of

phase

of the local color, the reflections of the boats,

the surface of the water.

in

Although some

painting, but there are other occasions

in-

amount

lines to the boats.

extensively, they

would have been necessary. French a small

and

painting,

possible to paint the water areas in big

sweeping washes. Without the Maskoid, spotty,

of

opaque was used

do not believe

of the boats in the immediate fore-

all

ground, the umbrella, the figure, and the

made

tinted

water and nets and for some of the highlights on the

highlights

and the broad wave mo-

were scraped

into the paper with a knife,

and the painting was completed. color on page 54.

the passing boat were indicated.

58

A few additional

It is

reproduced

in

LIVE The

oak

live

with the South.

is

another tree commonly associated

It is

a true native of the Atlantic

Gulf Coastal plains, and

The

California. tree

is

is

six to eight feet.

few

horizontally as trunk. This

American

The live

is

and

painting. This particular tree

moving

majestic size and overall span of the

most impressive. Although

vides into a

sized mature live oak, served as the model for the

found from Virginia to

it

sixty feet in height, the diameter of

from

OAK

may

Generally this great trunk

large branches,

much

trunk

of the stream.

a greater span than that of

be

palm

confused with the

from the

boughs curve

and white sandy banks

foliage of the native

back of the leaf

any other

live

tree, like the cypress,

is

on

oak should not be

forms of the oak. The

which can be seen on the trunks

beneath

its

tops of the long branches of

location.

large. live

heavy

The

Because of

oak

is

to project

some

study,

drawn with

its

sometimes

size

was sketched

terra cotta

too

many

made

and

quite

and scattered forms, the

difficult to

draw.

one form into another

It is

necessary

in a graceful

pleasing manner, so that the viewer

older trees have a covering of delicate ferns as well

is

and

not aware of

abrupt changes of directions.

Other oaks growing along the same bank were

as of moss.

The photograph below, which shows an

light

of the tree in

black Conte pencils and crayons, was

usually associated

host to Spanish moss which

in long, graceful strands

cabbage

Before attempting to paint this typical Florida

sweeping branches of the is

a slow-

in graceful

the photograph, are brilliant red lichen.

with the crown and outer reaches of the limbs. This

The

grows along

scene, a careful study of the live oak

foliage of the long,

branches.

directly in

areas,

tree.

oak grows upward, and

grows

The

di-

which may extend

as seventy-five feet

Its

arcs over the black waters

seldom exceeds its

Florida stream.

average-

left

59

out of the drawing and the painting.

Some

of

their root systems

had been undermined by flood

sky area, then allowed to dry before the painting of

waters and had fallen into the stream, and would

the tree

have confused the composition of the landscape.

tion

was

It

also necessary to rearrange the graceful forms

of the Spanish

moss so

the sides of the slightly

with a stump

in

was

The moss was drawn with

Conte crayon

sticks,

sec-

charged brush.

possible to paint the graceful arcs

lines,

it

and curves of

the branches with rhythmic brushstrokes.

When

then smudged

order to preserve a uniform

the

smaller limbs

gray value.

main branches had been painted, the

and twigs were added, drawing from

the thin outer twig to the heavier boughs. Each form

The stream was

was painted wet

indicated, with the darkest area

near the base of the tree trunk. tant

fully

Since the painting was not confined by guide

that they contributed to the

unity of the composition.

was begun. The boughs of each trunk

were painted freely with a

The

foliage

and

into wet. This technique,

which

allows the colors to flow together, establishes a con-

dis-

background were outlined, and the sketch was

tinuity within the picture.

completed.

Before painting the river, the area was thoroughly

wet with clear water. Then a mixture of Payne's

In painting the landscape, the preliminary outlines

of the live oak were kept to a

minimum. Only the

gray and cobalt was introduced.

The wash was

contour of the main trunk was sketched before the

most a

but was lightened

washes were applied.

near the border. After

A

pale cobalt

was flowed

into a previously

wet

solid

dark color

in places, it

had

dried, the wavelets

were indicated, and the small patch of

60

al-

light

on the

J^4^-

61

water near the bend of the river was

lifted

color with a

brush.

stiff,

round-pointed

oil

out of the

The

not appear that

dis-

tree.

bend and the blocked-out

tant shore of the river's

The

way

different directions

sap green and cobalt, neutralized with burnt umber.

tree.

the

accent of green at the base of the tree defined

ground

level

and helped

When

this

foliage forms

from the main boughs of the

phase had been completed, minor

were painted

would not draw undue

to indicate the height of

the ground above the river.

Then

photograph of the actual

the flying wings of a stage setting, each extending in

forms of the trees were painted with a mixture of

An

in the

other sections of moss were treated like

The

subdued colors that

in

attention to them.

silhouettes of the distant trees

were painted

and burnt umber was

with sap green to which touches of raw sienna had

applied to the white sandy foreground at the base of

been added, and the dark silhouette of the jumble of

a soft

the tree.

wash

While

of cobalt

this

was

still

wet, the grassy areas

brush in the lower

were indicated with a neutralized sap green. After the grass areas

had

with darks

order to establish definite planes in

in

dried, their edges

in

light

was painted

added

in

red for the greens in the landscape.

and dark drapery

of the Spanish

next. First the top border

and the moss was kept

three figures were

a solid

moss

establish a scale for the picture

human

was painted,

form although

it

order to give the

scene a point of interest and to provide an accent of

the ground level.

The

corner of the painting was put

with a thin, long-haired brush.

The

were accented

left

The

did

62

The

and add

figures also

a touch of

interest to the scene.

painting

is

reproduced

in color

on page 71.

FIVE PALMS The photograph below was taken on

a side

road

leading to one of the field barns of a celery farm, a short distance inland from the west coast of Florida.

The

stark, geometric

form of the farm building

provides an interesting contrast to the explosive

fronds and stalks of the trees and grasses, which

immediately suggest a sub-tropical scene. The high grass to the right of the road towers higher than a

man and

the

palm

trees help to give a sense of scale

or dimension to the overall scene.

The

gently curving

road directs the vision to the building, which

main point

of interest in this landscape,

roof of the building, which

is

is

and the

the tin

actually rust color,

provides a touch of muted reds to accent the scene.

63

The palms were moved the building,

were designed wires,

and

to direct the

in the

eye to the building. The

tall

the photograph,

in

drawing because they add an

esting pattern to the scene.

the

form a backdrop for

which did not show up

were used

let

to

their drooping, pointing fronds

However,

in the

them

stalks of the grass overlap

to the building.

The rough

pencil sketch

is

The

cast

down

The

wires

the single wire

shadow from

was carried across the tracks of the

based on the photo-

the

dirt

tall

grass

road to help

graph on the preceding page but a number of changes

frame the building, thus forcing the eye toward

were made

Finally, the foliage of the distant

ing,

which

more

in is

order to focus attention on the buildthe center of interest,

effective composition.

rection that the road takes

angling rectly at

first it.

and

The changes

Its final

an overall pattern for the scene, rather than

as

Although the palms are treated quite simply and

positive,

play a secondary role in this painting,

pointing di-

turn was lost in the cast

it.

palms was sketched

individual studies of the trees.

in the di-

were made more

toward the building, then

in as

to create a

I

to prevent

the eye from wandering out of the picture. lead the eye to the pole, then

inter-

sketch

shadow

it

was neces-

sary to have a clear understanding of their construction before painting them.

of the building.

64

There

is

not a

lot of detail

in the painting of the palms,

which were treated

in

an impressionistic manner, but the direction of the

growth of the fronds

is

clearly indicated.

scene was sketched on the watercolor paper

The

and the borders were taped before the blue sky wash was executed. The sky was handled too

much

motion

freely without

attempt at form except for a crisscross

to give a sense of

movement. This simple

treatment was necessary so that the sky would not

be too distracting, particularly since the foliage would be quite busy.

The

strong darks of the grassy patches of the road

were drybrushed with heavy pigment, then softened

man-

with a

damp

ner,

was not necessary to hurry the washes. Even

it

brush.

By painting the

though the heavy pigment can always be softened

grass in this

may dry on

at a later

the paper,

it

and more conveni-

ent time.

The

65

front of the farm building

was painted with

an intense French ultramarine, and

shadow was

its

trunks had beenindicated, the painting was complete.

carried across the road. This strong contrasting treat-

The

ment made the sunlight appear very brilliant, whereas

page 71.

soft

shadows without contrast would have indicated

a cloudy sky.

A damp sky where

sponge was used to soften the edge of the it

touches the horizon and where the firm

stalks of the grass overlap

it.

A

may

sponge

be used

to achieve certain effects that are not possible with

a brush.

The

pole

was drybrushed

vines applied to

it.

The

in

pattern

and the growth

of

was more important

here than the details of the form.

The form and

pattern of the

tall

grass

was painted

quickly and practically completed in one operation. Painting

it

this

way gave

it

a certain snap

ness that could not be achieved ing individual stalks

palms was treated

by

direct-

laboriously paint-

and fronds. The

in the

and

foliage of the

same manner,

large leaf forms at the base of the palms.

as

were the

When

tree

color reproduction of "Five Palms"

is

on

GRAIN ELEVATOR

Grain elevators such tions of the country.

as this are

found

in

many

The

sec-

Along the inner edge of the Gulf

Coast, where the land begins

its

to the picture

gradual rise toward

elevator.

was added

and

to the scene to give depth

to establish the size of the grain

The composition

of the painting

was worked

out in the pencil sketch reproduced below.

the high plains of the interior, grain elevators dot the

countryside. Spaced about ten miles apart, they

gas station

The

may

sketch was then enlarged to the

watercolor, and the perspective, which

be seen strung out, reaching toward the horizon.

67

full size is

of the

a one-point

Before this had dried, touches of

dabbed

in to

Winsor red were

complete the sky.

A graded wash was

used to define the vertical cor-

ner of the rectangular building. red was painted over the

and cobalt was added

Then a tint of Winsor

entire side of the building

in the

lower section of the

tower to heighten the color.

A

touch of French ultramarine along the horizon

marked

its

location

and the contour

of the distant

tableland.

-""^A

series of vertical -washes

Quonset

on the

silos

and the

building established their rounded contours.

After these washes were

a series of horizontal

dr>',

banded washes, painted over

all

of the buildings,

suggested the metal plates used in their construction.

These washes

also helped to carry out the perspective

of the landscape. perspective in this case,

was

was rechecked

to

be sure

In painting the

it

were made

accurate.

of the painting

color paper,

and the borders

taped. After

Maskoid had been applied

lines of the buildings

and the

was flowed onto the sky area

A wash of raw sienna over the whole area.

it

The

to the out-

tion that gives a rhythmic

movement

back of the gas station

ground were completed and a

traffic streaks.

When

the

telephone poles and the fence were added the paint-

heavy wash of burnt umber a sweeping

local colors of the

planes of the road, and the

was soaking wet.

and cobalt was applied next, using

trees in

directional wash of Davy's gray was used to paint the

and aureolin was then painted

A

The

were painted and then the building was indicated.

were

distant horizon, water

until

in the direction of the perspective planes

of the picture.

As few lines as possible were traced onto the water-

ground most of the brushstrokes

ing took

on a

few minor

mo-

forceful depth.

details, the picture

produced in color on page 71

to the painting.

68

With was

the addition of a finished.

It is

re-

pr

P"

69

While your washes are drying, take advantage of the time to

draw small on-the-spot

They can be used paintings.

70

sketches.

to suggest details for future

Live

Oak

Five Palms

Grain Elevator

J»"ii»v—

71

The Southwest

The

colorful

canyons and tablelands of the Colo-

rado Plateau offer

many

mission churches of the Spanish colonial period, particularly in southern

spectacular views for the

landscape painter. Throughout

this vast area of

interesting remains of the

about

130,000 square miles are such striking formations as

bian Indian civilization.

Grand Canyon, Bryce Canyon, Zion Canyon,

the

and the Painted Desert.

Arizona and cliff

New Mexico,

dwellers, a pre-Colum-

The Navajos, Pueblos, Zunis,

and other Indians of today's Southwest

In addition to the brilliantly

and

also

make

in-

teresting subjects for paintings of that part of the

colored and strangely eroded land forms, there are

country.

THE FORMATION OF A MESA

Before discussing the next painting, which

is

cap rocks. As streams began to gnaw at the weaker

of an

adobe church nestled between the towering rocks of a mesa, this

it

may

be well to study

sections of the level surface, small gullies

a land form of

(1),

A

"mesa"

is

a land

form that

is

more or

and a nearly

less cir-

how

the

its

mesa

base. is

The block diagram

illustrates

a plateau

to

These canyons extended

The

loose soil that

be called

in various

was washed from (3) at the

base of the canyon walls.

The

gullies

and canyons

cutting into the tableland

grew

larger

and more nu-

isolated

level

.

were formed

became deep enough

merous, and sections of the plateau eventually were

carved out of a larger plateau, or

tableland.

The

(2)

directions.

turn

in

around the hard cap rock formed aprons

level top.

built-up "apron" of loose materials extends out-

ward from

which

canyons

kind evolves.

cular in design with steep sides

A

how

top of the mesa was at one time part of

from the

wear away the

which consisted of areas of weak and hard

mesas

72

rest (4)

.

As erosion continued

to

existing plateau, only a series of small

(5) remained.

Church

of the

Mesa

Canyon Country

73

CHURCH OF THE MESA

The

New

inspiration for this painting

was

a church in

Mexico. Again, there was not enough time to

paint a landscape on the spot, so movies and

photographs were

taken to

be studied

at a

still

more con-

venient time. In the painting the height of the

creased,

and the road was added

the scene.

in-

to lead the eye into

However, the proportion,

struction of the church,

mesas was

color,

and con-

and the color and formation

of the layers of sedimentary rock were derived from

movies of the original scene.

The tip

74

pen

first

thumbnail sketch was made with a

felt-

to explore the abstract design of the picture

and the placement of the church. Since the

size

and

sticks

location of the church near the left-hand portion of

the picture

made

A and

its

much

pencil.

The proportion

The road and

left

A

of the church

the fence were

lead the vision to the point of interest.

The

size

and proportions of the

of the church.

There were no other buildings

added

little artistic

freedom was exercised.

chisel-

placement nearer the center of the picture

better.

pencils.

near the church in the actual scene, but a

was discarded.

second composition was made with a

edged layout

the

the surrounding mesas appear too

small, the first sketch

and

mesas were changed again, and a house was added to

final tissue

painting.

is

was made

to the

The foreground

A distant range

second thumbnail because

size of the

of the third sketch

used, but the height of the mesa

to

working

it

was

was taken from the

seemed

to

have more

of mountains also increased the depth of the picture.

"eye" appeal. The direction of the high cloud

The sky was

mation was changed, and the contour of the distant

simplified so that

it

would not

detract

mountain was altered

from the church and the mesas.

A

final

sketch was executed with Conte crayon

of the landscape.

75

for-

to accent the horizontal planes

The drawing was traced

into position

color paper, using as few lines as necessary,

coat of

Maskoid was applied

main rock formation. ciently, the

When

were painted quite simply with only a few directional

on the water-

and a

washes. After the bank and gullies had been indicated, the

to the contour of the

had dried

this

large fonns of the

suffi-

and French

had been

Since a

and

was painted. The pigment was kept

number

of large forceful

used, as the photograph at the bottom of page 11

shows.

of the picture

in the

quite thick for

The

retoucher's bridge,

phase of the watercolor. The road, the grass, and

when working over

the

embankment were completed, then

the

and

a

the walls of

The

distant rock

slope of the aprons of the

cliffs

and the

rest for the

large drawings.

It

hand

also prevents

is

a particular

when

problem

in

ex-

warm,

humid weather.

were painted with horizon-

A

brushstrokes to suggest sedimentary rock strata.

The

being used

from the skin from getting on the watercolor

ecuting washes. This cliffs

is

paper, which can have disastrous results

few fence posts were

indicated.

tal

oil

which

same photograph, provides a

this

the church and house

washes were nec-

essary for this painting, fairly large brushes were

After the sky had dried, the Maskoid was removed left

and the fences were

were added.

ings

on the clouds.

the dark of the rocks to the

of trees

drawn, and the red accents of the roofs of the build-

wet, the washes of blue slowly seeped into the white sections, forming soft edges

The background

scape.

ultra-

marine were brushed into place, taking care to preserve the white areas. Since the whole area

vertical

strokes in the direction of the perspective of the land-

sky area was wet with clear water and

thin washes of a neutralized cobalt

mesa were painted with

full

color reproduction of the painting appears

on page 73.

far range

76

77

CANYON COUNTRY To

paint the richly colorful desert country of the

Southwest, the

artist

needs a completely

new

palette

of colors. In place of

muted

greens, blues, grays,

and browns

used for scenes of the eastern mountain ranges and the Atlantic seaboard, a rich palette of intense blues

and blue-greens, deep and vibrant magentas and olets, potent,

needed

vi-

glowing reds, oranges, and yellows

to paint the dramatic desert

is

and canyon land-

scapes.

The backdrop

for this landscape painting

is

the

awe-inspiring country of the upper reaches of the

Painted Desert, east of the miles

and

Grand Canyon, with

miles of gaily colored

cliffs

its

of multicolored

sandstone.

As

I

approached the

little

place for travelers on their the

Grand Canyon,

I

park that

way

a resting

is

to the north rim of

was surprised

to see

rows of

poplars fencing the area from the hot desert glare. In the distance

sheep life

Navajos tended a flock of goats and

at a waterhole.

This interesting touch of desert

became the main theme

"Canyon Country."

of

THE POPLAR The

poplars that encircle the small park were

probably planted are

Lombardy

as a decorative

poplars, one of the

windbreak. They

most

distinctive of

the family of trees that include the aspen

and cotton-

wood. The Lombardy poplar was introduced this

country from Eurasia, and

shaped tops are

now

the Pacific.

a tree of rapid

shortlived, is

It is it

tall,

thin spire-

seen from the Atlantic coast to

growth, and though

spreads rapidly once planted.

deep-furrowed

The

its

is

The bark

at maturity.

characteristic

bardy poplar

into

form and anatomy of the Lom-

shown

in the

two sketches

at the

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