IWS Philippines Artists: "Liwanag at Daan" A Tutorial by Edbon Sevilleno

Creating Drama In Your Paintings

For this sample tutorial, we paint a scene taken from the Pinto Art Museum. Photo reference is provided by Ms Jinky Rayo, from the 1st Grand Meetup at the Pinto Art Museum last January 2015
It always starts with a sketch. But bear in mind while doing it, you have already decided on your composition, focal points, eye paths, stoppers, tones and values. You might create codes to indicate your leave outs. Note you do not have to draw all that you see.
Composition wise, it is always essential to direct eye paths to your chosen focal point. Also check your rules of thirds.
This is the best part of the first stage studies. Nowadays, we all have computers. So why not use it? These are tone studies and leave out indications. I call these leave outs "trapped shapes." I also decided to add strips of morning light behind the hero. These will add a glorious spirit to this piece.
Almost close to the Golden Rule Spiral of the Renaissance.
These are my low tech ancient tools which I heavily rely on. Some are household Chinese bowls. Then there is the Ladies' Choice garapon which is the best.
Make sure all brushes is in reach and that you have enough clean water in jars.
This is the easel set up. The palette is just on my right hand side within easy reach.
Let's Paint
Mix your skies with Cerulean Blue, Cobalt Blue, and Ultramarine.
Usually it is best to start with the sky. Make it quick and loose. Try to avoid the tower. Treat it as a leave out.
While still wet, lift up with a clean tissue where you intended to create those clouds. Take note: You have to determine where your light source is coming from. This will help guide you where to place your light and shadows later
While drying the sky, paint the foreground with a mixture of Payne's Gray and Raw Sienna. Raw Sienna will give warmth to your foreground. I still use my 20-year-old Japanese hake brush for large areas. Again, make the stroke quick!
Now that the sky is about to dry, spray the area a bit so you could achieve the natural look of foliage for the tress. Let the water do its magic. But of course you have to watch out if the effect starts running wild. Always have a clean tissue to wipe out unnecessary rundowns.
To achieve those morning stripes of light, you have to make a quick dry brush stroke with the brush almost lying down on the surface of the paper to get those sparkling lights. It is not easy. This needs a lot of practice. It is a one stroke affair.
This is our hero, our focal point. Treat it as a negative trapped space. Keep the edge sharp and crispy. A 1/2 inch flat brush will do justice on this one.
Continue with the flat brush.
Go back to the stripes of light area. While the just applied paint in the previous step is still wet, lift up some pigments with a tissue so you will get softer light in the bottom.
Draw in the silhouette of some hanging branches over the stripes of white light. Spray some water over this part. The water will do its thing to make this part look natural.
Now add some thinner twigs with a rigger brush. Make it loose and free.
Timing is crucial when doing this technique. When the application is about to dry, scratch it using a tool. I learned this technique from my professor in fine arts Rodney Martinez, my mentor.
Let the painting dry. Take a breather.
Continuing on, let us work on the wall on the right. Spray the area with a bit of water.
Paint the cast shadows of the trees next to the wall with a bluish Payne's Gray and add warm cadmium orange on the bottom.
Carry on below that with the ornamental plants. Let it bleed into the application done in the previous step. Be sure to keep some leave outs for some highlights. Add a bit of opaque yellow greens to the wet area to achieve those mushrooms in the wash.
Paint the walls with a blue tinted with a bit of Mauve (Purple).
Use a 1/4 inch flat brush to keep that trapped shape.
Again while wet, create another mushroom wash.
Let the foliage of trees bleed into each other creating a unit. Do not attempt to paint it individually. Let loose of your brush strokes. Check your reference from time to time.
Do some splattering on this part with the rigger brush. Just an impressions of leaves above the foliage.
As you can see, there are variations of tones on this unit of foliage and different techniques were used to achieve it.
We are about to paint the remaining 50% of this piece which includes the man made structure. It is white, of concrete, and made out of geometric units so we may need a flat brush on this. First, I have to pre-mix the tints I will need for the walls and stairs. It is more of a bluish grayish tint with some raw sienna for warmth.
Prior to actually painting this part, I made a demo video of what I call "Shadow Brushstroking." Also known as "the Pac-man Move." I developed it to plan ahead my strokes, keeping them spontaneous and quick. I am able to plan better where to start and where to end.
With watercolour, pigments may tend to appear lighter when dried compared from the mix you did when it was wet. That is why it is essential to prepare it darker during the premix.
Although the bell tower is white, that is even better since it reflects surrounding colors making it more interesting. Trees in the background should be painted with cool blue green to give you that receding effect.
To avoid placing too much attention on the sun rays, I have to diffuse it by adding impressions of trees behind it. In that way, it would look as if the light is filtered through the trees.
As you can see, I left a thin leave out to indicate high lights on our hero. That light is important.
One of the best qualities of this medium is its ability to capture light.
I realized I need to add shadows on this area.
We have reached the Crescendo of this piece... the cast shadows on the stairs leading to the hero! And done!

Edbon Sevilleno is a regular contributor to the IWS Philippines Learning Forum. His tutorials, uploaded in real time, are eagerly anticipated. The above step-by-step was compiled and shared here with his permission. Follow the master watercolor artist from Negros on his facebook account or meet the artist at our Learning Forum.