Sprinkles 1- A quick and easy way to make a Notan (sketch) (Thanks to Colin Johnson - a great art teacher)

Keep your notan small (we did 14x9cm). Aim to work fast, it's better to do 4 5 minute sketches than 1 20 minute one. This will force you to make quick decisions and look at the large shapes. Avoid all detail.

  1. Use Progresso and a pencil sharpener to make a pile of graphite shavings
  2. Using your finger to smudge in the mid tones
  3. Darken the darks with more graphite or scribble with your Progresso
  4. Remove the lights with a kneadable eraser moulded to a point

Sprinkles 11

  1. Use Progresso and a pencil sharpener to make a pile of graphite shavings
  2. Using your finger to smudge in the mid tones
  3. Use torn paper to get hills, mountains with eraser or progresso
  4. Use paper to get pale tree trunks in dark foliage
  5. Draw in reeds (in clumps+ dots for seed heads)
  6. Use eraser vertically for water reflections

Draw your composition in 7 large shapes - different sizes with 5 different tonal values. Use the thirds rule or golden section to decide where to place the centre of interest.

Use counterchange (darkest dark next to the lightest light to draw the viewers gaze to the focal point). You can use diagonals to lead the eye also.

Layout your watercolour paper (weight 300gm)

Project 1

Mix the colours - we used 2 colours - lemon yellow and ultramarine as we wanted a spring landscape. Mix up enough colour (you don't want to run out and have to remix) Use a large brush (size 12 or larger) and wet the whole paper with clear water. Lay on a piece of kitchen paper to soak up the excess (don't dab!)

With the paper still damp, work quickly with ultramarine adding water to lighten the colour nearer the horizon. Add yellow for the foreground. You are aiming for a wet-in-wet look don't worry if the paint flows, you will get some facinating results. Darken some areas while the paper is still damp. Refer back to your tonal studies and 7 shapes. Let your painting dry.

Practice painting the tree which will form part of the focal point (same 2 colours) notice which is the light side of the tree and which is the dark. Use the big brush and start with the yellow (DON'T FORGET THE BIRD HOLES). Blend in wet-in-wet blue tones until the shadow side and base is the darkest colour on your painting. Draw in the trunks (this should be your counterchange areas). Dry then add slightly darker tones. Avoid using the same size brush strokes all over the tree

Splatter foreground with toothbrush and draw with the handle of your brush.

Project 2

Look at greyscale photograph and develop 7 large areas and 5 tones. Which is the darkest area which is the lightest? Change the composition if necessary - you can move things to suit your composition.

Using 2 colours either prussian blue + raw sienna or prussian blue + burnt sienna. (use lots of water with prussian blue - it's a staining colour and once on you paper isn't easy to remove. Use with lots of water and avoid strong lines) Paint in the background, dry then add the conifers.

Paint the conifers with a medium sized round brush. Place your brush parallel to the paper holding on top, start at the trunk and sweep out. keep the brush fairly dry you are aiming for some dry brush work on the edges of the branches. If there is a lot of water on your brush blot at the handle end. Try to make your branches slightly asymetrical for a natural look. Remove pale areas of trucks by drawing clear water on a dark dry area and dabbing out with kitchen paper.

Check in the mirror that your counterchange and focal area still works. If your darkest darks are scattered all over the painting lighten areas by removing some paint with a natural sponge.