I try to paint over the entire horn except for highlight areas. (This is where the sun is reflected off the horn and washes out to a white highlight). Let this wash dry, and then we’ll move on to separating the light and dark side.
Now we’re ready to approach the light and dark separation. The shadow mixture I’m going to use will be the same purple mix of Ultramarine Blue and Alizarin Crimson. (I lean this mixture toward the blue side). I then add a touch of Raw or Burnt Umber to grey the mixture a bit. Greying the shadow mixture gives our shadow a very real look.
We must ride a fine line between getting values right, yet maintaining luminosity in our subject. No easy feat with watercolor!
I will paint the shadow side, hopefully in one pass with my purple mixture, and then add some of the detail in the horn.
Here are the horns after the purple shadow wash and a hint of the details on the horn. I used Burnt Sienna and Ultramarine Blue as a dark mixture to define the twist and variations in the horn. Don’t get too caught up in the many details in the horn. Notice in the photo that the only thing I added, beyond the shadow color and some horn detail, was a bit of Cadmium Red on the underside of the horn to warm it.
I didn’t break this in to separate photos because this isn’t an all-day affair. Paint your shadow side and add the details. I finished the horn in about 20-30 minutes. Don’t forget to warm the underside.
See you tomorrow!
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