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Members Project 10

Venice Gondola

Step 1


As you can see from this first image it’s a fairly detailed drawing, but once again no cross hatching or shading, just the outline. For my sky wash I used my 1.5” wash brush and pre wet the whole sky area and drop in some cobalt blue and suck out a few simple clouds.
 
Step 2

Once this had dried I changed to my No 8 round brush and firstly dropped in a little bit of cobalt blue in the far distance around those 2 people on the bridge. Then for the roof line of the larger building I used a little bit of burnt sienna well watered and leave a few little touches of white showing here and there. Then for the building itself still with the same brush a little bit of raw umber very weak.

Coming further forward for the pink building this mix was sand with a tiny touch of alizarin crimson. Whilst its still wet drop in a little bit of raw umber at the bottom of the building. The same mix for the base of the chimney and then just raw umber for the top of the chimney. 
Step 3

For the the shutters on the pink building I used hookers green with a tiny touch of cobalt blue just block them in leaving a few white bits of paper showing here and there. At this stage be careful to go around the gondola. There are a couple of ground shutters in the further away building. For this I used raw umber with a tiny touch of cobalt blue. Within the windows themselves again cobalt blue, this time with a tiny touch of brunt sienna into it.

Now for the bridge, raw umber with a tiny touch of cobalt blue and just block it in with my No 8 round brush. For the shadow underneath the arch of the bridge I mixed cobalt blue with a bit of light red. 
 
Step 4

You will see now that I have put all the shadows on these distant buildings. It fairly obvious where I have put the shadow but make it strongest where its in the windows frames and in the shutters. For the shadow mix I have used cobalt blue, alizarin crimson and burnt sienna. Remember to paint carefully around that gondola to keep it white. But before I put the shadow on the bridge, put a little bit of detail on the bridge but this time with more cobalt blue into it and suggest a little bit of stonework.

For this massive building on the left hand side I changed to my ¾” flat wash brush and pre wet the entire thing whilst this is still wet quickly drop in a little bit of yellow ochre followed by some very weak raw umber, a few touches of light red and some weak cobalt blue. Let all these colour run and merge together. Now let all this dry before going to step 5
 
Step 5

Once it had all dried I changed to my No 8 round brush and basically just painted in some of the details. For the brown shutters I used raw umber followed by a touch of raw umber mixed with cobalt blue to add a few touches of detail into the shutters. For the red shutters I use alizarin crimson with a few touches of light red and then a couple of burnt sienna shutters here and there. For the detail of Balcony I use a little bit of raw umber slightly stronger to intimate detail and now for the roof line. Again with my No 8 round brush its raw umber with quite a bit of cobalt blue into it to make it really dark and just spot on with the tip of the brush around the edge of the roof line and this will suggest the edge of the pan tile roof. The innards of the windows are painted with cobalt blue and a tiny touch of light red. Again let all this dry before we go to step 6.
 
Step 6

Here you will see as suggested a little bit of stone work, again with my No 8 round brush, just stipple on here and there with a mix of cobalt blue and light red and there are some fairly serious shadows in this building now but again it’s the same mix, cobalt blue, alizarin crimson and burnt sienna and keep it especially strong within the windows and underneath the roof ledges.
 
Step 7

For the tree I used ¾” flat wash brush and split the brush and stipple on some yellow ochre fairly strong, followed by a mixture of hookers green and yellow ochre again fairly strong remember to leave bits of the yellow ochre showing through here and there and also some gaps here and there. For the wall tucked in behind I used raw umber with a tiny touch of light red and again still the same brush.
Step 8

I firstly painted in the gondola on the left and I use fairly weak black mix of ultramarine blue and burnt sienna and my No 8 round brush and just block the whole thing in. Now strengthen the black mix and echo this shape on the wall of the building.

The people in the bottom to be honest, as in any people, you can use any colour you want. But I used alizarin crimson for a couple of them and cobalt blue for the one at the front. Remember to leave a little bit of light paper at the edge of the people to suggest some light.

Now to the wall and the steps and with my ¾” wash brush, block these in using raw umber followed by a tiny touch of light red here and there. Suggest a little bit of stone work with the tip of my No 8 round brush.
Now to start the reflections I used my ¾” flat wash brush and basically all I am doing is repeating the colours in the water area with horizontal strokes but broken so that I have little bits of white showing here and there.

Now to the building on the right and I just pre wet the whole thing with my ¾” Wash brush dropped in a little bit of raw umber followed by a little bit of light red followed by a little touch of cobalt blue here and there. Now let this dry.
Step 9

With my No 8 round brush highlight the shutters with a mixture of cobalt blue and raw umber I also used this mix to intimate a little bit of detail in the stone work and also for a few lines to suggest the top roof line. I went into the windows with my black mix of ultramarine blue and burnt sienna and then just shadow the whole thing using the same shadow mix paying special attention to inside the windows and any overhangs.
Step 10

You will see here that I have just done a wash straight across the water using a mixture of hookers green, cobalt blue and touch of light red. I used my ¾” flat wash brush, keep this mix fairly weak, horizontal strokes straight across but again remember to leave a few touches of white here and there, now let it all dry.
Step 11

Now its time for the main gondola and again its this mix of ultra marine blue and burnt sienna to create black. With my No 8 round brush block it in but notice where I have left a few touches of white here and there.

At the same time a few horizontal strokes with the black the suggest the reflection. Still with the black I painted the gondoliers trousers and now you will see will see why it was so important to paint around this beforehand, because with a little bit of alizarin crimson I painted the stripes of his shirt so that he is now red and white.

For the other people I needed a little bit of flash tone and for this it’s the Charles Evans Sand with a tiny touch of light red. For the other people again you can paint them any colour you want, but remember whilst you are doing all this remember to reflect those colours in the water.

For the gondoliers pole I used raw umber with a tiny touch of blue and my rigger brush.
 
Step 12

For the final image its time to do all the reflection and to darken the water. For this I used my ¾” wash brush and again mixture of hookers green, cobalt blue and light red and get some dark strokes into the water especially in the bottom right hand corner. But remember to leave some of the under colours showing through here and there now put a touch of raw umber into your water mix and suggest a bit of reflection on the building on the right.

There we go, a very complex image of Venice. But I’m sure you can manage this one and I hope you enjoy it.