Step 1 After making a careful and extensive drawing, I underpainted the areas in sunlight with cadmium yellow and the areas in shadow with a deeper value of ultramarine blue. I blocked in several more colors and then masked the buildings with both frisket paper and liquid masking solution. I then painted the sky with enough value of its own to support the enormous amount of value to come.	Step 2 With the mask removed, I continued to build more color and value to the painting with a series of washes. At this time I began to introduce intermediate darks to further establish a feeling of light and dark.	Step 3 I continued to build up the intermediate darks throughout the painting, using more glazes than washes. I also began to establish some of the deeper dark areas in the painting with even more glazes. Notice the introduction of these deeper values makes the relative value of the sky appear lighter.	Step 4 At this point I added much more color, value, and detail, and I had virtually stopped building any color with washes. I was only glazing, scumbling, and drawing with the brush.

Step 5 I continued to develop even more color, value, and detail as the painting neared completion. I then made the final adjustments.

Mixed Emotions 2007, watercolor, 22 x 30. Collection the artist. The scene is 50th Street and Broadway in midtown Manhattan, a location that is usually a frenzy of activity. I eliminated the people from the composition so I could focus on the cacophony of color, light, shape, and texture of the buildings.

Read James Toogood's feature on achieving optimal results with watercolors from the spring 2008 issue of Watercolor magazine.

Comments

I like it, lots of atmosphere and good use of colours blending in the light and dark areas of this peice.