Colin Pethick Workshop 
(8th Oct 2019)
A painting brought as a sample
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This Workshop ~ covered Moonlight Scenes using Acrylics.

Colin had asked participants to pre-paint their canvas/boards with a thin wash of
Burnt Umber as a base to their work 

 The colours used by Colin for the Workshop were: 
Titanium White Naples Yellow Burnt Sienna Prussian Blue 
Indian Red or Venetian Road French Ultramarine Ivory Black & Yellow Ochre 

Colin started by saying the trick to painting the scene was “all in the colour mixing”. The colours used formed a very ‘closed/limited’ palette. 
The use of Ivory Black was because it is a ‘transparent’ black , mixed with Prussian Blue formed a good night sky. Colin said to ignore all previous advice about not using black as it is OK as long as it is transparent.
NB:  Do not use Lamp Black as it is not transparent and you will just get mud  ~ also 
Ivory Black and Yellow Ochre mixed produce a very dark green 
Colin also advised everyone to use Hog Brushes, square shaped, as the stiff bristles on the hog brushes allowed the paint to be brushed on whereas ‘soft pliable’ brushes would just work the paint into the canvas/paper/board and just move the paint around losing the shape and colours. 
Colin uses a red colour to quickly draw in any outlines on the canvas prior to commencing the paint. 
Commencing the sky Colin had a mix of white and Prussian blue with a tiny bit of Ivory Black. 
He then used some Naples Yellow, with Ivory Black added to the blue mixture already made which appeared slightly green but more grey. He did say if it is too green then to add more Naples yellow and Ivory Black. 
Continuing on the sky Colin moved to a much darker colour, Prussian Blue, Ivory Black, tiny bit of white and worked upwards to form streaks of dark cloud (mackerel sky). 
* Prussian Blue and Ivory Black produce an Indigo colour, start to add dark rich clouds on top of previous clouds.  * Hold brush flat as you apply paint. * Indian Red and French Ultramarine = purple colour, push into wet paint, gently applying brush to canvas. 
* MOON – Naples Yellow and White – pure white with tiny amount of Naples Yellow to form the moon. Then to form a halo around the moon use White with a tiny bit of Burnt Sienna around the edge. 
NB:  Colin advised us to use Burnt Sienna for sunsets, NOT Yellow! Use flat brush to paint light cloud * Burnt Sienna over the Blue darker clouds gives a silvery effect? 
Use Naples Yellow with Burnt Sienna to form light streaks in the clouds – highlights under clouds and on lower picture where moonlight lands on landscape. 
* Indian Red, French Ultramarine and Ivory Black to form more streaky dark clouds (don’t use Prussian Blue as it will go too green 
NB:  Colin advised us to use Burnt Sienna for sunsets, NOT Yellow! 
NB:  You can use KY Jelly Tubes to mix with the acrylic paints to make them more fluid. 
NB: TO MAKE NAPLES YELLOW: White, Yellow Ochre, Cadmium Yellow and tiny speck of Cadmium Red.
 At this point Colin sent us to our work-stations to create their Sky Sections of their paintings

Colin then assisted each of us at our work areas giving advice and encouragement.

 When everyone had worked  on their Skies, Colin called us back to view the next stages.
Colin now developed the Skyline of his Night Scene. First by mixing a dark blue/green.
Then moving on to the water in front of the Skyline, starting by painting in the Moon's line of reflection.
Once the foreground water was in place Colin concentrated on getting the reflections right. The main consideration is that all reflections should be directly under their origins but bot a 'sharp' as the object that creates them.

Highlights and shadow areas were then added to the painting until the final picture was completed (as can be seen below).
If desired, the Image will open (when clicked), 
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The group then went back to work on their paintings and some results can be seen below...

... with a few examples produced by the end of the Workshop

Notes by Linda & Images by Web-monkey