Night Scene - Step 10

Step 10 - Completion

For this final stage, I knew the sky needed to be stronger and darker to give the light areas the proper glow. Continuing to "push" a watercolor at this point can be a risky move, since it's not usually possible to go lighter again and you also never know when you're gonna have one of those "@%#*! water has a mind of its own" moments. That's just one of the thousand or so decisions you'll have to make during a painting, but, like I mentioned before, 9 times out of 10 I make the painting better by pushing it a little farther. The most important thing is to not be afraid to make that decision - it's not like it's your last painting ever and, no, your life does not depend on it, no matter how much time and paint you've already put into it.

Having made my decision to continue, I closed my eyes (just kidding), turned the piece upside down again and hit the upper part of the sky with a strong mixture of Alizarin Crimson and Pthalo Green. In this case, I'm really happy that I decided to go darker. Overall, the painting is very close to my initial plan, and I feel like everything is working (despite the fact that there are always little areas that only I notice where I could have handled things better).

So, there you have it, the Charles Bridge in Prague at night in watercolor. Hopefully, you're all ready now to go tackle that night scene that you've been putting off for the last three years!

Just remember, there's no such thing as the perfect painting, your next one's going to be your best, and it really is about the journey, not the destination.

Night Scene - Step 9

Step 9

At this stage of the painting, I'm adding the final darks and details to finish things up. I finished the tree over the middle part of the bridge, some of the rooftops, and the rest of the water.

Then, I always like to take the painting off of my table and put it across the room (at least 15 - 20 feet away) so that I can get a true feel for the type of impact it will have. I've been so close to it for so many hours, that this is the only way I can objectively see if it's matching my original idea for the piece and if it's truly working as a painting. In this case, I noticed right away that the sky wasn't nearly as strong as I wanted it to be. This is a scary time because it's so easy to ruin something in watercolor that you can't ever fix, but I know this will be a better piece if I can darken the sky and smooth out some of the brushstrokes.

Don't ever be afraid to keep working on something that needs it just because you're worried about making a mistake! You will learn so much more about painting by making that mistake than you will by being timid.

Night Scene - Step 8

Step 8

I've pretty much finished up the water here, and I'm pretty satisfied with how it's looking. The values and colors are working, so I will probably only need a few adjustments as I wrap things up.

As you can see, I've also added a couple more washes to the sky. The first one was basically a warm, dark mixture of Burnt Siena and Alizarin to smooth out some of the brush strokes and get rid of some of the Ultramarine Blue (too purple). The second wash was basically the same except this time, with the painting upside-down, I added a black mixture (Pthalo Green and Alizarin Crimson) that got heavier as I moved down towards the bottom.

At this stage in a painting, I spend as much time, if not more, just looking and analyzing as I do actually painting.

Night Scene - Step 7

Step 7

I started to really work on the water here. Starting on the left side, I painted a medium-dark purple-gray mixture around the light reflections. In some places, I bridged the gap between these two areas with a wash of pure Cadmium Red to give the lights a glow. Then, once dry, I came over the top of these areas with darker, vertical lines for the reflections of windows, dark shapes, etc. (Just make sure your reflections are directly below what's being reflected.) I made the reflections with jagged horizontal strokes to show the movement of the water.

I also finished some of the darker parts of the buildings behind the bridge, the bridge tower, and some of the bridge details.

Night Scene - Step 6

Step 6

I've added another wash to the sky. This time, I added a little more Ultramarine Blue to the mixture to darken it. I've got a ways more to go, but you can already see that the buildings are looking more "lit up". It's always interesting to see how changing one part of a painting (darkness, color, etc.) changes every other part as well. Each painting is a supreme balancing act, and you have to really know what you want the finished product to look like so you don't get lost in these middle stages and leave it unfinished.

I'm also ready to start working on the reflections in the water now. This will be a very important part of the final piece, so I really need to pay attention to how it's handled. The best way to paint water is to look it as abstract shapes and values and just paint what you see (as opposed to what you "think" you see - it's that whole right brain, left brain thing). Come to think of it, that's pretty much the best way to paint anything. If you get the shapes right and the values right, then you've got it. See, you had no idea painting was that easy!

I also worked a bit more on the dark parts of the bridge tower and the buildings to the left. They're getting closer to completion.

Night Scene - Step 5

Step 5

Ah, the sky. I figured that the only way to really have a deep, dark sky was to build up alot of layers. This first one is an attempt to establish the overall warm glow created by all of the city lights. I basically mixed up Burnt Siena and Alizarin Crimson with just a bit of Ultramarine Blue.

If you take a closer look at the photo, you'll notice that my pencil is now at the top. That's because I actually flipped the piece upside-down. That way, I could paint around all of the buildings (and especially the lights) without having to worry about the paint drying (which happens REALLY fast here in AZ) and leaving strange looking marks. It's also easier to add more blue towards the bottom (actually the top) so that the sky gets darker as it gets farther away from the lights, etc.

I'm not too worried about all the brush strokes you can see at this point, since I'll be adding many more layers before I'm through.

Completely unrelated thought:

Anyone looking for a quick laugh should check out Zach Braff's blog, http://www.zachbraff.com/. Back in the pre-kids days when we could actually sit down and watch a primetime TV show (and yes, I do know there's a little thing called tivo now), my wife and I loved the show Scrubs. It is goofy, yes, but also incredibly well written and innovative, and just a whole lot of fun. And I've liked just about every other thing he's been a part of. Anyways, his blog is about the same, a well written and funny stream of consciousness that lets us into his world in an honest and hilarious way.

Or, maybe it's just because we're both in our thirties and HUGE celebrities that I feel a connection (actually, I'm not even a celebrity in my own house.)

Either way, check it out.

Night Scene - Step 4

Step 4

More work on the darks here. I wanted to let the warm colors from the lights bleed down into the bridge, so I had to be careful to keep those edges soft (as opposed to the hard edges more commonly seen in watercolor.)

Notice also how the buildings begin to become more ambiguous as they recede off into the distance. With any landscape, things become less distinct and have less detail and contrast as they get farther away. The term for this is atmospheric perspective and, although somewhat difficult to achieve in watercolor, is a great way to establish depth.