Today I will show you how I prepare my painting with photo and sketches, and a couple of unusual techniques: how we can start applying paint even before we actually outline our subject, and how to create the foreground first. Pencil and brush will interact all through the process.

When not working en plein air, I choose a subject from my own photos, to have a connection with the story. In this case it’s a pic from my family and friends trip to Valencia, Spain. Namely a city scene I entitled “Strolling at Twilight”. A young mom with her toddler, seemingly asleep, and his puppet — slowly heading home, before it gets too dark in town.

Preparing the Work

Crop the digital image then print it in black and white.

I zoom in and crop my digital image then print it in black and white. In my sketchbook I sketch a thumbnail of the overall design, looking at the B&W print as value reference. I’ll keep the screen at hand for colors. I sketch the foreground and main element, the stroller.

Drawing and sketching.

Color Selection

DANIEL SMITH colors Francesco selected for the watercolor painting.

I decided for an overall cool key temperature, with Indigo and Phthalo Blue (GS).   Quinacridone Sienna and Quinacridone Gold take the warm side and complete the color range for this work. I do not clean the palette as paint left over make great grays. I just clean a spot for mixing my first wash of pure pigments.

Photo of Francesco Fontana’s watercolor palette.

Painting Process

1. I wash the paper with a cool color, Indigo + Phthalo Blue (GS), and let it dry.

Apply the cool color wash, draw the focal element for the painting.

2. I draw the focal element on the toned dry paper, using the sketch as reference. Except for marking the placement of main shapes, I do not draw the entire composition.

Painting the focal figure almost completely.

3. I paint the focal figure almost completely, using Quin Sienna as a color pitch. Erase the pencil when dry.

Draw and paint part of the background building.

4. Draw and paint part of the background building. Mostly the windows with Quin Gold, not the darker parts to leave space for the passersby and the tree to be painted in the plan before the facade.

Stop painting and sketch in figures.

5. Stop painting and sketch a few studies of the figures hanging on the square.

Painting in the figures.

6. Now I am ready to outline those figures in the mid ground and paint them with a shade of bistro (Italian for sepia brown) from the mix of Quin Sienna and Indigo.

Adding in the tree and branches.

7. Change brush and paint the tree. I do as many branches as possible, building kind of a net.

Developing the facade on the left side.

8. At this point I develop the facade on the left side, drawing some perspective lines, and the curve of pavement.

Intensify the sky value.

9. Finally, I intensify the sky value by adding color with Indigo in the top. I make a cool to warm gradation — Phthalo to Gold, plus reflections on the light part of the pavement.

Adding the last touches.

10. Last touch, I finish with thin layers of golden yellow here and there to increase saturation, and the city lights effect. I include Phthalo Blue (GS) for cool city highlight on the right side. I erase all pencil marks and sign.

I am quite happy with this work. But as usual looking at the step-by-step sequence, I start reflecting on what can be done better next time. Maybe stop earlier or try new technique. The challenge never ends! Feel free to send me feedback and happy painting! —Francesco Fontana

“Strolling at Twilight”

Colors I used in this painting

Quinacridone Sienna
Quinacridone Gold
Indigo
Phthalo Blue (GS)

Triadic with Character
I have always loved orange. Quinacridone Sienna plays the role of orange in my palette, with the addition of a beautiful transparency and earthy feel. Which I like to support with the amazing luminosity of Quinacridone Gold, which is my second favorite DS hue. Indigo is my first choice for darks, and plays the role of black, which I have never used in my career! Indigo’s iron blue shade perfectly complements with Quin Sienna. Mixing the two results in a natural deep bistro (sepia brown), which can reach great intensity in both warm and cool ends. These three colors add a lot of character to my essentially triadic color approach.

5 Tips

1. Do not draw all details in the beginning, just mark placement and focal point.
2. Work as if you would stop at any time.
3. Paint more branches in a tree, with expression from thinner to thicker.
4. Find your own solutions (maybe car lights can be anything but pure red!).
5. At every step make sure that is a brick to building up a mood.

Why I choose DANIEL SMITH Watercolors
DANIEL SMITH Extra Fine Watercolor has become the leap in quality I was looking for quite a while in my artistic journey. The finesse and power of their pigments are beauty in itself. As a transparent watercolorist, the luminosity of their quinacridone pigments is a blessing!

Although I tend to use a limited palette, the amazing range of colors allows me to choose those that most reflect my personality and contribute to define my style. Their concentration is also a great value, DANIEL SMITH tubes seem endless, despite a professional daily use.”
—Francesco Fontana

Triadic colors for the painting.