LITMIR.BIZ

       VIEW FROM SHINAFOOT 33 × 51 cm (13 × 20 in)

      First published in 2000 by

      HarperCollinsPublishers Ltd

      1 London Bridge Street

      London SE1 9GF

      The HarperCollins website address is: www.harpercollins.co.uk

      Collins is a registered trademark of HarperCollins Publishers Limited.

      © Don Harrison, 2000

       A catalogue record for this book is available from the British Library

      Editor: Geraldine Christy

      Designer: Colin Brown

      Photographer: Nigel Cheffers-Heard

      A companion video, entitled The Complete Duffer’s Guide to Painting Watercolour Landscapes, is available from Artyfacts, P. O. Box 2182, Poole, Dorset BH16 6YU

       Page 1: EILEAN DONAN 35 × 53 cm (14 × 21 in)

      Don Harrison asserts the moral right to be identified as the author of this work.

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      Source ISBN 9780004133997

      Ebook Edition © MARCH 2019 ISBN: 9780008352431

      Version: 2019-03-06

      HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

      Contents

       COVER

       TITLE PAGE

COPYRIGHT

INTRODUCTION

MATERIALS AND EQUIPMENT

       USING COLOUR

       FIRST STEPS IN WATERCOLOUR

       SIMPLE SKIES

       WINTER LANDSCAPES

       SUMMER LANDSCAPES

       SEASCAPES AND BOATS

       MOUNTAINS AND HEADLANDS

       BUILDINGS IN THE LANDSCAPE

       ABOUT THE PUBLISHER

       MUDEFORD 37 × 56 cm (14½ × 22 in)

       Introduction

      Even in this day and age we can still be overwhelmed at the sight of a stunning view. Indeed you may often hear people say, ‘Just look at that. If only I could paint it.’ So why on earth do they not do so? Many people say they have no talent for painting or they cannot draw, or the scene is too difficult, or they will take up painting when they retire. Sadly, they are missing out on one of life’s great pleasures. Even worse, a large proportion of the people who already try to paint often struggle through poor technique and lack of good advice. Some regard themselves as complete duffers and wonder if they will ever improve. This book is intended to change all that and to show just how easy it is to paint effective and realistic landscapes in watercolour.

      Here is a basic, but comprehensive, painting course arranged and written in a straightforward, no-nonsense way that is easy to understand. If you have always longed to paint but do not know where to start, here are the answers. The book introduces the materials and equipment you will need and provides a guide to basic colour theory, with advice on laying out your palette and mixing your colours. Techniques are clearly explained, followed by simple exercises to help you put them into practice. Finally, each chapter culminates in a full step-by-step demonstration of a painting.

       MORNING SNOW

       38 × 56 cm (15 × 22 in)

       The heavy overcast sky provides just the right backdrop to the distant snow-covered fields and is painted using the same cold blues and violets that are used for the snow-bound lane and fields. These wintry colours contrast well with the rich, warm browns in the hedges and trees.

       HARVEST TIME

       37 × 56 cm (14½ × 22 in)

       The light fluffy clouds in a blue sky suggest a warm summer’s day and the bright, warm yellows and greens, framed by the dark overhanging foliage, emphasize this feeling. The tractor provides a touch of action and a useful focal point in the painting.

      After reading this book you should be able to tackle almost any kind of scene with confidence. But if some of your early efforts are unsuccessful do not worry – remember that you are only spoiling a piece of paper. Even your reject pictures should teach you something useful for future paintings as long as you understand where you went wrong.

      When you first start painting the temptation is to reproduce exactly what you see, but the camera can do this much better than you or I. So once you have chosen a subject, try to simplify it and produce a reasonable impression of it without including every detail. When your painting does come out right you will realize

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