Alla prima primroses were the subject for oil painting today. A very complicated subject and an exhausting painting session. Almost 6 hours to get this to an almost finished state. This was done as part of a Paul Foxton workshop and this was the final subject.
Mixing colors Takes Time
I spent a good portion of the time just mixing the colors. It took around 1.5 hours to mix up colors for the light and shadow sides of the flowers, the leaves, the teapot and the background colors. I dialled back the chroma quite a bit from last week’s study as I thought the yellow flowers were too bright. Definitely a good decision.
Small Oil Study
Here is the study for reference:
This was an 8×10 study and was blocked in quite quickly and with only a little drawing. I thought it came out well but wanted a slightly quieter feel to it. I also went larger – 11″x15″ for the final thing. It’s a busy subject and needed a bit more elbow room so took the plunge and went larger. This is always a bit of a risk as relationships can take on more or less impact as you scale up or down.
In Progress Shot
Here is the painting part way through. We spent quite a bit of time on the central 3 flowers. These are the main stars of the show and we wanted to make sure we had the values nailed down here. I think they just about work. Yellow flowers are always tricky especially the shadow colors. We also made sure the values of the teapot were better than the study. The white of the spout in the shadow is really quite dark and we wanted to ensure it really looked like it was in shadow.
Alla Prima Primroses – Studio Shot
This is a shot of my easel in the studio. Some people have asked whether I have trouble with distorted drawing as I have my board at an angle. To be honest I keep it like that as I mostly work in watercolor and I’m used to it. I do stand up a lot and I don’t think I get any distortion from the angle. One day I’ll try the vertical easel and see how that feels.
Want to paint this watercolor boat painting? Follow the step by step instructions (including video at the end) and see how easy this can be!
I just can’t resist painting boats in watercolor. The colors, the details, the sun and shadow – all come together to make painting these watercolor boats so much fun. In this watercolor boat tutorial I break down all the steps and show you how you can paint this scene. Boat watercolor paintings can seem daunting but if you take things slowly it’s amazing how they come together.
Watercolor Materials Needed
Watercolor paper (I like Fabriano Artistco 140lb cold press)
Size 10 round sable or synthetic sable
Vermillion/pyrrole red/naphthol red
Cobalt blue/cerulean blue
Palette/paper towels/water pot
Small spray bottle of water
Watercolor Boat Drawing
The drawing for this painting is pretty important. Sometimes I won’t put much detail into a drawing and just indicate the main shapes. For instance a landscape with trees can be pretty sparse in the drawing. All the detail and texture goes in by eye with just paint. But for this scene there is a lot going on and we want to indicate the position of a lot of different things.
Using a Grid Helps With Drawing Accuracy
I did this drawing by eye but, if you’re not confident with your drawing, you can grid up your paper lightly with pencil and draw it square by square. That way you can be sure you’re getting everything in the right place. It’s not a foolproof method but it gives you far less room for error. I’ve included a gridded up version of the reference below.
The aspect ratio of the photo is the same as for a 10″x14″ piece of watercolor paper. If you mark your paper into quarters on each side and join them up to make a 4×4 grid you can transfer the drawing more easily onto your paper.
Take Some Time to Make a Plan for Your Painting
Before we dive into the painting it always helps to take a few minutes and plan out what you’re going to do. It can be hard to do this – we want to jump straight in and get those brushes moving and paint splashing around. But a few minutes thought at the start always makes for a better painting. We can spot possible problem areas and make sure we know roughly how we’re going to proceed.
Which Direction is the Light Coming From?
I first make note of where the light is coming from and where the shadows fall. In this case the sun is on our right and the shadows are falling on the left. This is always good to keep in the back of your mind. If the reference is unclear in some areas you can work out how the lights and darks should fall even if you can’t make it out from the photo.
The next thing I do is note where my lightest lights are and my darkest darks. Once we’ve located these then we know that everything else has to fall somewhere between those areas. In this case our lightest light is the white hull on the left boat. The darkest darks are in the shadow underneath the boats and possibly inside the cabins. I keep this in mind. Nothing else can be darker or lighter than these areas.
Where are the Main Shapes and Values?
This one is trickier but it pays off giving it some thought. Even though there’s a lot of detail going on in this photo I like to break it down into 4 or 5 main value shapes. In this case I would estimate (or measure using our value scale) the value of the following areas
The hulls of the boats (in light and shadow)
The cabins of the boats (in light and shadow)
This may seem like a lot to work out ahead of time but getting those big value shapes right is an enormous help getting a scene to hang together and getting it to be convincing.
Identify a Few of the Colors
Doing some test mixes of a few of the main colors can also be a good idea. It’s much easier to do this before the painting. When you’re in the middle of the painting there’s so much going on it’s hard to stop and think about this. It’s a bit like prepping for a recipe. Getting all the ingredients measured out ready ahead of time makes putting a meal together much easier. (Not that I ever really do that – but I should!) In this painting I mixed as I went along but it’s a better idea to try out your color mixes at the start. If you think you can’t remember how you mixed your colors then putting a pencil note next to the swatch is a good idea. It’s doesn’t have to be anything complicated – just a list of the colors is enough.
Watercolor Boat Painting – Finally we Paint!
So let’s start painting. We’re going to paint this in layers and build up the painting from light to dark. We’re first going to block in all the shapes with their lightest colors. Once those are dry we can go back in and add in the darks. This way of working takes a bit of getting used to. As we’re starting with the light colors of all the shapes things won’t start to look three dimensional until quite late on in the painting.
I have many more step-by-step tutorials and videos!
If we put in too much value variation in the early stages then the darks won’t make as much impact when we put those in. In these early stages try and match the color and value as best you can to the reference. And, most importantly, keep these early washes even. Don’t be tempted to try and make things look right at this stage. It takes a bit of faith but once you get used to it it will all make sense.
Keep Going With the Light Values
Keep going across all of the main shapes of the boats. One thing to remember is that we’re putting in the light value of each different shape but these values may vary from shape to shape. For instance, the hull of the red boat is a bright orange-red in the light. The actual value of this is around a 5 i.e. mid-way down the value scale. If we compare this to the beige area above we can see that it’s a little darker. The beige area in the light is around a 7 but it’s still in the light.
Similarly the red stripe on the left hand boat is around a 4 (i.e. darker than a mid-value) in the light. If you have a value scale and a printout of the reference you can measure the values directly. If the color is distracting (and it can be with bright colors like these) squint your eyes and it becomes easier to judge value.
Use the ChromaMagic Tool to Measure Color
Alternatively you can load up the reference in ChromaMagic and click on different areas. It will show you the three components of the color – hue, value and chroma. The color notation is part of the Munsell way of measuring color. It is incredibly useful in painting and makes color very straightforward to analyze.
Paint in the Sea in the Background
The sea in the background goes in next. This is a fairly dark blue and helps to tie the boats in the scene and give us some depth.
As you can see at this point the painting isn’t looking three-dimensional. Don’t panic! This is exactly how it should be looking at this point.
Paint in the Sand Around Your Watercolor Boats
Next we’re going to put in the sand. I really like this bit as we get to put in some texture with our spray bottle. One thing to be careful of – sand isn’t yellow. Or rather it is yellow but a very grayed out low chroma yellow. In this scene it’s a kind of beige so make sure you add in some black to your mix to take out some of the brightness. I’ve made the mistake of painting sand far too bright in color many times. Again mixing a swatch of color beforehand helps a lot as does using ChromaMagic for checking the chroma.
While your sand wash is still wet take a spray bottle of water and lightly spritz the surface. If the paper is the right level of dampness the water will add small sparkles and splodges in the paint. It adds some interest and texture to the foreground. This can take a bit of practice to get right. If the paper is too wet the water will just disperse and disappear. If the paper is too dry the water won’t do anything at all.
Watercolor Boat Painting – Add the Sky
Note: I’ve got the order slightly wrong here. I’ve already put in some of the darks on the boats before doing the sky. The order doesn’t really matter. You can put in the sky before the shadows and everything should work out fine.
Let’s put in some sky now. The reference photo doesn’t really have much in the way of clouds and I didn’t really want a big expanse of blue up there. So I’ve invented some cloud shapes. You have a lot of freedom here. Put in some blue around wherever you fancy the clouds to be. While the paint is wet take a clean (very clean) damp brush and soften the edges of the clouds. The blue pigment will diffuse out into the damp areas of paper making lovely soft and convinving clouds.
Watercolor Boat Painting – Second Layer Darks
Now this bit is where the painting starts to come to life. We’re going to put in the shadow sides of the objects and make them look three-dimensional. Adding in these contrasting areas also helps the visual impact of the scene and it will make the image more interesting as well as more realistic.
Interested in Learning to Paint in Watercolor?
I have many real-time videos you can paint along to. Please check out my youtube channel or see the selection here.
We’ve already painted in the light sides of our objects so we won’t be putting any color in there at all. We’re just going to paint in the shadow colors on mostly the left sides. Make sure your colors are at least a couple of shades darker than your light sides and things will start to take shape. When you get to the insides of the cabins we’re even darker as very little light is getting in there – you don’t need to paint things – just a few dark shapes at different angles will suggest a lot of detail.
Be careful with the shadow on the white hull. We don’t want to go too dark here and keeping that shadow light will really suggest strong sun.
Add a Cast Shadow to Anchor the Boats to the Ground
Finally add some cast shadows on the sand and right at the bottom of the boats. This will make the boats convincingly anchored to the ground.
The Magic Bit – Details on Your Watercolor Boat Painting
By this point you should have something that’s looking pretty three-dimensional. This next bit really adds sparkle and interest to your watercolor boat painting! We’re going to put in some lovely details. Put in the masts and rigging with a small synthetic brush. Make sure they’re not too dark – a mid value gray is plenty dark enough here. The other thing to take care with is not to make your lines too continuous. Leave a few gaps here and there as it will make the masts more convincing than if you carefully paint them in one continuous line.
Continue with the masts and smaller details. Add in a few lines for the railings and the ropes holding the buoys. A few light lines on the white hull will also suggest their structure. I hope everything is looking really good by now!
Flags and Signs
We’re right at the end now. A few red marks for the flags will add a pop of color. The signs on the boat go in with an almost black background. The lettering is suggested with a little opaque white.
Final Thoughts on This Watercolor Boat Painting
If you tried this painting I hope it turned out well. I would love to see your results – please feel free to send them to me. I have also videoed the whole process and you can paint along with the full painting.
Watercolor daffodils have been on the docket to paint for a while since the snow has departed. Yesterday’s version wasn’t successful and I pushed it to a mess. But today’s is much better. I’ll leave it on the easel and look at it with fresh eyes tomorrow.
Light and Shadow Were The Main Subject
The main star of the show isn’t really the daffodils but the creamer and the shadows. But I wanted to have the flowers in there for some value contrast and those wonderful subtle shades on the petals. The leaves especially give a strong dark vertical which sets off the very light values in the flowers, the creamer and the surface. The background shadows were a huge challenge. My first version had them far too dark and the washes were grubby and uneven. I vacillated a lot about the color of those back shadows. I didn’t want them to be too dominant but also didn’t want a dull grey back there. In the end I think the slight purple worked well.
Daffodils are Surprisingly Hard to Paint Well
I have to say daffodils are not the easiest of flowers. The colors of the petals are very low chroma and can be hard to mix in watercolor. But I think these work pretty well. I would have liked a little more contrast in the petals between light and shade but didn’t want to destroy the delicacy. But anyway – there’s plenty more in the garden so lots of opportunity to practice
Other Examples of Watercolor Daffodils
It is daffodil season and, although these are the first of this season I’ve had some pretty good success previously. Here are a couple of previous versions:
Both these paintings were from sessions with Paul Foxton. He’s a great fan of painting daffodils and it’s always worthwhile taking one of his workshops.