Here is the list of colors mixes that were used:
Materials:
- Atelier A2 Lightfast Heavy Body Acrylic Paint
- Titanium White
- Ultramarine Blue
- Pthalo Green
- Alizarine Crimson
- Burnt Sienna
- Cadmium Yellow Light
- Large Flat
- Medium Round
- Small Round
We will be using an “alla prima” approach, which means that we will be starting and finishing this painting in one session. Many of the Impressionists used this approach, especially when working “en plein air” or outdoors.
Mix together equal parts: Ultramarine Blue + Alizarine Crimson + Titanium White = Light Purple.
Using the large flat brush cover the entire canvas with this color and let dry.
ContentsThis technique of starting with a colored surface is a fantastic way to control your use of values (light/dark), and to set the color tone for an artwork. Mauve was a new pigment at the time of the impressionists and Monet loved starting his paintings with a purple base as it complemented the yellow greens of his lilies and various garden plants perfectly.
Step Two
Next up we need to begin to build up the pattern/ texture of the reflections in the water. It’s best to use a reference photo of a lily pond for this. Look at the sections of light and dark between the lily pads and imagine what shapes of light and dark would be present if you removed all the ripples and lily pads from the water. The Impressionists were obsessed with the fleeting effects of light in the natural environment. Because of this, they focused on color and light in loose marks rather than crisp edges of shapes and lines. When painting this piece, experiment with holding your paintbrush loosely in your hands, far back on the handle. Use thick applications of paint and ignore any tendency towards crisp outlines and defined shapes and edges.
Mix together the Ultramarine Blue and Titanium White to create a very light blue color. With short, dashed marks begin to fill in the spaces of the canvas where the light sky is reflected in the water. It’s best to exaggerate the size of this area. Paint it as if nothing else exists in your painting apart from the light areas of the water. One you have painted in the light blue areas, mix a darker blue color with more Ultramarine and less white. With this color overlap and intertwine with the edges of the light blue areas and cover the remaining areas of the canvas in the same dashed, repetitive, vertical pattern as you did with the light blue.
Step Three
Looking at the surface of the water, concentrate on the reflected greenery of the above trees, bushes and grass. Look at the shape and the position of these areas. The next thing to do is to mix up a variety of greens, blues, browns and paint them on in the same dashed, vertical, repetitive, interweaving pattern which was used for the blues in the water. All colors used need to be a little bit muted/dull and cool, so avoid using pure, unmixed colors.
Here are the color recipes you will need:
- Dark Muted Blue = Ultramarine Blue 60% + Burnt Sienna 30% + Titanium white 10%
- Dark Muted Green = Pthalo Green 60% + Burnt Sienna 30% + Titanium White 10%
- Mid Tone Green = Pthalo Green 50% + Burnt Sienna 20% + Titanium White 30%
- Light Muted Green = Pthalo Green 40% + Burnt Sienna 10% + Cadmium Yellow Light 10% + Titanium White 30%
These four colors are a great base, but feel free to create as many variations of these as you would like, ensuring that they remain muted/dull and cool.
