Using your sketches from the previous exercise, select a drawing to develop in colour. Begin with a horizontal line that defines your personal eye level. Use a limited palette for this exercise – no more than three colours. Traditionally these would have been deep brown, sanguine (red brown), black and white, but decide which works best for your subject. Use conté pencils, coloured pencils or ink and work on smooth or rough paper.
I reworked a different view of the house in exercsie 2, using conte pencils in traditional black, sanguine, brown and white colours. I used A3 kraft paper as I thought it might give an interesting effect- as that the house is white! I am not sure that the finish on the house is particularly effective, as where the paper shows through the white it just looks dirty and badly drawn! I was struggling to cover the paper completely. However, the tone of the paper works better for the canal which gives quite an effective watery finish. I think the coloured paper might have been a mistake overall (if I did it again I would choose white) as there are limited areas where it felt right to leave the paper unmarked. Had I used white paper, there would have been a large central expanse relatively unmarked (walls of the house) from which I could have built up tone and detail around it.
I was careful not to overstate the objects beyond the bridge, which helps them to recede into the distance. The verticals are not completely accurate, but the building does have 3D form (maybe the fact it is an old house means your brain is more willing to forgive inaccuracies of perspective etc. In a new building it might be more obvious!?)
I thought I would have a try at using just shades of grey on white A2 cartridge paper. This is a scene from the back of the village showing roofs and chimneys etc. I was drawn to the interesting shapes and the fact it is dominantly dark. (As usual it was a very grey day!) I was pleased with the outcome and felt that the light on the foreground roof brought it forward whilst the dark roofs in the background sent them into the distance. It was hard to describe the form of the cylindrical chimneys in the mid-ground and they became a little over worked as a result. I liked being able to leave the paper to show through where white plasterwork, reflections and light were depicted.
This is a small A4 pastel image of the centre of the village. I sued rather more colour on this sketch which was really just an experiment to see if I could depict form using just a few colours but without defining outlines too much. It is a loose sketch which has a sense of movement (not that buildings move!) and depth. The colder colours of the rocks bring the cross into the foreground while the warmer colours on the shops recede and give a sense of sunlight shining on them. (Maybe the touches of pink tie the whole together?) I was able to resist overdoing the detail on the shop fronts which also helped put them into the background.