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Stage Three

This is where it gets exciting.
At this point there are decisions to be made about whether the next wash is put onto a wet or dry surface. I chose the dry route on this occasion.
As the sky is now complete, a variegated wash is laid over the remainder i.e. the buildings and foreground paving etc. By ‘variegated’ I mean that you are responding to the view in terms of its any areas of tone (dark and light areas) and the corresponding colours of these tonal areas; and you don’t have to paint what you see anyhow. You interpret what you see in the way you prefer. Your choice of colours is indeed yours alone.
Working quickly and thinking quickly I begin at the top and work down, laying in a continuous wash varying it in tone and colour as I go, and where necessary letting it drain down and blend, or not. The result is what I call a soft edged ‘mosaic’ wash that varies in tone and colour; a variegated wash.


Fig. 9

The result of a variegated/mosaic wash on dry paper, the mask still in place.


Fig. 10

Where a wash has bled beyond the limits of what was drawn, the paint is carefully mopped off with a tissue to restore the planned edge between one area and another.


Fig. 11

Close up of the street at the left hand side where people are seated chatting etc. Little of this could be seen in the photo so I invented it.

Notice: I’ve made more of the shrubs, portrayed to the right as a soft focus haze of a greenish colour. This will be resolved later by darker and more detailed painting. I commit myself later. It means I’m in control. Watercolour painting especially is about control and timing. The soft haze of greenish colour will also suggest the other side of the shrub.
Also I’ve introduced at the drawing stage more detail of figures, chairs and tables, a waiter and guess what, drinks!  These will become more apparent as the painting evolves.
Much is suggested; less is more, indicate don’t state. Work with imagination.    
After all this rapid, exciting wash I let it dry.

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