DEMONSTRATION

Afternoon Sun

▶ SKETCH

This subject had everything going for it: a natural composition with strong directional light, a good focal point and an effective balance of receding shapes. I made a quick pencil sketch on the spot for later reference

◀ STAGE TWO

Once everything was dry, I developed the building and distant trees. The foliage was painted wet-into-wet to model the shadows, keeping everything soft to help it recede. I used cobalt blue and cadmium yellow for the distant trees, adding a little light red to grey it down. Note how the trees define the edge of the roof. I used burnt sienna for the roof on the building, leaving the sunlit wall as the underpainting. The bushes along the road were washed in with a warmer green, adding more cadmium yellow and burnt sienna

◀ STAGE ONE

After sketching the main forms onto the watercolour paper in 2B pencil, I wet the entire sheet before working top to bottom with a wash of raw sienna, adding a little pink and French ultramarine into the sky on the right. Foreground trees and bushes were tinted with a mix of cadmium yellow and French ultramarine, with touches of burnt sienna near the road. A warm grey of burnt sienna and French ultramarine finished the road. Everything was kept light and soft, establishing a warm, atmospheric mood

▼ FINISHED PAINTING

Afternoon Sun, watercolour on 140lb (300gsm) Bockingford Rough, 10314in (25.5335.5cm). I added the rich dark bushes on the left, connecting them to the shadows running across the road. The bushes were painted with a dark mix of cadmium yellow and French ultramarine, darkening it further with burnt sienna for the deeper tones. The shadows across the road were a mix of light red, cobalt blue and raw sienna to warm it up, lifting out the dappled light with a damp brush. Where the shadows hit the grass on the right, I switched back to a darker green. Finally, I added a few details to the distant building and wheel marks on the road with a mix of burnt sienna and French ultramarine

◀ STAGE THREE

The large tree on the right was added next, starting with the foliage at the top and working down. The foliage was treated as a mass, dry brushing the edges to suggest the leafy structure, then working wet-in-wet within to maintain soft shadows. I worked light to dark, cadmium yellow and French ultramarine on the sunlit side, then adding more blue and burnt sienna to darken the shadows. I continued with burnt sienna and French ultramarine for the trunk and branches. Finally, a mid-tone green was dry brushed across the grasses by the edge of the road

For further examples of Paul’s work and details of his painting courses and holidays, please visit his website at www.paulweaverart.co.uk His website has an extensive shop with a wide selection of original paintings for sale, greetings cards and Paul’s bespoke, ‘Freestyle’ watercolour brush, as well as watercolour tutorial videos to view online.