🆕HOW TO PAINT A RAINY DAY SCENE – Painting Demonstration with full instructions!🌧☔💧

🆕HOW TO PAINT A RAINY DAY SCENE – Painting Demonstration with full instructions!🌧☔💧

here is a way of painting a rainy day
scene in watercolor have you found it difficult to paint a wet day or a dull
day what’s your technique for painting rainy scenes hello I’m Tim Wilmot a
watercolor painter and I produce full-length video tutorials with
commentary which will help you improve your watercolor techniques and hopefully
create some great looking paintings so in this video I’ll cover the complete
process so stick around the complete process of painting a watercolor from
start to finish I’ll give commentary along the way
there’ll be no annoying background music in this video so a rainy day scene this
is the location is last Spezza in Italy let me just take you into a map of the
scene so here is the northern part of Italy and there is less Boettcher there
and I’ve gone in with Google Streetview and this is where I was in October and a
scene near the port and harbor it’s a very pretty
port area there’s lots of cruise ships that come in it’s a fishing port as well
leisure craft or so it was October totally unlike that the scene we’ve got
here totally the weather conditions totally unlike this Google Streetview
scene here this is a sunny day mine was a rainy day and it was cold as well so I
took shelter in this little cafe here I was actually sat just there to the right
of the doorway and did a couple of plein air paintings there on me to show you
one of them I was that she so I was sat there and I was looking just into the
corner of the port so this is looking towards the town you’ve got a row of
palm trees a park then the town rising up behind that so let me just take you
in to the plein air did so this is this is
what I did on the scene and I was soaking wet pretty cold and just took
shelter grabbed a coffee and painted this scene one of two but the paper was
damp and the the the atmosphere was humid so everything took a long time to
dry knits tumbled me that this would be a way I know I know of some watercolor
artist that paint deliberately paint on damp paper to start with they pre wet
the paper I don’t have you seen any my videos I don’t do that it’s on dry paper
has been it’s not pretty wet at all but this was a damn day my paper was wet to
start with so I thought well let’s just explore this a little bit more and I
took a photo looking the other way so this is looking into the town there was
a little fishing boat there I decided to that there were one or two brightest
bells so I thought well let’s try and capture that but it’s still hopefully
giving the appearance of a drizzly day people with umbrellas I saw was a good
good thing to include in a street you seem to portray a rainy day some
umbrellas and parasols parasols and things but there was there was this
little fishing boat I thought well just grab a little bit of lights on top of
that fishing boat there but everything else is it’s soft it’s all soft edges
maybe not too many values in the scene as well that can only be a good thing to
to think about is no no massive areas or huge areas of differences of contrast
and then going in the background just disappearing very soft soft edges as
well so this is the scene looking the other way if you like out to sea it was
drizzly rain it wasn’t hard rain drizzling rain
it was bright ish but on the whole fairly dull
and a scene which on the face of it you think well this this would this would be
a very boring scene to paint but I do occasionally like painting just ordinary
scenes you just sit somewhere in a street scene you sit somewhere you
locate somewhere comfortable and you look around you and you draw what you
see you paint what you see so that’s what I’ve decided to do in this video is
just take a very ordinary scene probably something that 99% of people would not
paint at all so if you’re if your idea of painting is a pretty cottage or
something like that then probably this video isn’t for you but if you want to
just stick around and see my take of some techniques of painting a rainy day
scene then this you hopefully or you’ll pick up something from the way I’ve done
it so what we’ve got here are a row of plot pots that if you like is sort of
leading the eye further up the scene there’s a car there but then just beyond
just behind that there’s these fishing boats the backs towards us and these are
the tool cranes on the backs of the boats that are that are lifting up all
of their fishing crates and pots and so on and there’s lots of rigging and
details between the pots and the boats there are some palm trees here as you
know what these are called these are called beauty o Kappa tartar it’s quite
a they’re caught a cold hardy palm but they’ve been stuck in these pots one or
two of them are quite miserable going back to the Google Streetview this is
probably the one that was on its way out and it’s finally giving up the ghost
there but these two look fairly healthy yep so some palm trees rigging I’ll
include a figure in the scene as well we’ve got a nice bit of framing this
this is the top of the cafe where I took shelter and we can just see the a table
there so I’ll make I’ll make more of that so if you imagine we’ve got some
tables along the– the foreground bottom right corner there the roof top top
right corner yeah should be should make for an interesting painting and my take
on trying to create the atmosphere of a dull day a rainy day lots of soft edges
now if you want to keep seeing my reference powder photo as I paid the
demo open this in another tab on your browser I’d go to this same video in
that new tab and point pause it on the opening minutes where I where I’m
showing this this picture of full screen or better still and excuse the plug if
you join my patreon scheme which is patreon.com so WWE patreon.com slash Tim
Wilmot I produce a number of painting projects for my members upon of my
patreon site where I shared the high resolution images my painting and give a
lot more give a few more tips as regards how to attend that scene okay so let’s
make a start so the people I’m using is Saunders Waterford cold press that’s
medium texture and it’s 300 grams it’s not the heaviest weight paper probably
that’s a good point out she probably heavier paper might be better for a wet
day scene painting because we’re gonna be we’re going to be giving a lot of
abuse and make it quite wet and going in with some
heavy paintings so probably best to go for some heavy P heavy heavier weight
paper rather than light away paper and it’s secured tape down with painters DIY
masking tape probably best to get some good quality because what I’m going to
be doing shortly will test the integrity of this tape so it’s gotta be good
quality tape that’s not going to be easily removed good good adhesive
qualities so step one the outline drawing and these three pots a little
bit of a an exercise in perspective with these pots going into the distance
getting smaller I’ve decided to settle on three pots rather than four or two or
five I think that’s probably about right but from a conversation point of view
I’m adding in the car and I’m going to add in a figure as well so it’s gonna be
five main things along that middle area there so here’s my figure I will start
off with the heads first of all and then the shoulders body of the figure so
perhaps this this is a figure just just a fisherman may be attending his nets
and looking towards the salt crosshatch the the actual face there just to give
an indication of whether this figure is looking towards us or looking away and
then we have the first left-hand side the first karein if you
like at the back of the boat there’s an indication of these palm trees beauty I
Kappa Tata I think they hailed from South America
or somewhere obviously grow now in Europe and we’ve got the jetty the side
of the harbour slight angle going away from us bit of paraphernalia in front of
that figure so I don’t need to think about any legs for that figure being
covered with the in covered with the netting right second boat and a third
boat there’s sort of behind those palm trees just lucky behind those boundaries
and then going up to the right very briefly there is a bigger a bigger boat
on that right-hand side so there’s the top right corner the frame and then
bottom right corner a couple of tables just the corner the tables just to give
the impression that we’re we’re sat undercover getting shelter from the rain
and then there’s my lines of the pavement just to help us some go into
the scene as well so that’s the initial drawing done getting in the main shapes making sure the drawing is perfect
before I embark on the next step a bit of painting but before painting so this
is this is the first thing I wanted to introduce to you as I said at the start
I know some watercolor painters they do pre wet their paper
and then they start painting I’ve done the drawing first with a soft pencil
just get in the main lines and now I’m very gently with a flat brush or a hate
brush just wetting the entire paper surface now this is where good quality
watercolor paper comes in because if you’ve got cheap paper or not good
quality paper then you can you can damage the surface by by doing this by
adding in a lot of moisture and brushing over it quite easily the the paper
surface degrades and you end up with a horrible mess and bits of paper coming
off not so with good quality paper like Saunders it’s very absorbent and which
is what you want you want them you want paper that’s gonna be retaining its
moisture for a long time while you whydid painters scene depending on how
fast you’re going to be painting you want it to be quite moist so I was using
where I’m using this flat brush or a hate brush you could use a sponge gently
use a sponge to go over the whole scene but it needs to be fairly uniform even
over the whole surface and we’re getting to we’re getting to a level of wetness
where it’s it’s I would say it’s sort of moist or damp so there’s just a slight
you might be able to see there with a bit of reflection on my on my light of
my studio light a little bit of glare so that’s that’s really what we want just a
little bit of glare if you look at it against the the sunlight just see just
try to Tet a little bit of glare coming towards you and that’ll be probably
about right and then we’ve got to work fairly fairly quickly by starting with
our painting and this day a dull day you’ve got very few
values to work with probably the sky is gonna be the same value as a as the road
or a street and so it’s the case in this scene so you’ve got a you’ve got to look
a little bit more closely be a bit more observant and try and pick up some some
value changes colors as well the warmth of the color I’m going for a
sky there’s a sort of bluey gray so I’ve picked up a bit of cerulean blue
anything from the palette from the previous painting just add it into and
it into that but I’m getting quite a sort of bluey gray mixed and they want
to go warmer for the foreground and then the pots there are sort of yellowish
creamy color so I’ve got three I’ve got sort of three main colors to think about
cool sky warm foreground and then these yellow pause I’m going over the outline
of my drawing don’t be too precise with that and gone over the top right that’s
all right corner where the dark canopy is gonna be there can be a hard edge
there but I want these soft edges so everything dab I’m adding more moisture
into a NASM as I’m painting in there gotta try to paint carefully around the
figure doesn’t matter if it’s not too accurate I went over the the flowerpot
the flowerpots and now with this mop brush I’m using a Raphael soft aqua more
brush but any more brush would do again quite soft have a brush is quite soft
not too hard something that’s for that is meant for watercolor and then with
those parts and I don’t have a cream color as such so just gunning with us a
year which car I should point out the palette to you on the right-hand side of
the palette running from the top got neutral tint a sort of like a dark
gray color not black dark gray and a burnt umber burnt sienna yellow ochre
Viridian cobalt green cerulean blue cobalt blue in the middle ultramarine
blue coming down Alison crimson a bright red which the Windsor red a light red
cadmium orange and a lemon yellow now I’ll on the foreground or side I made
those stripy lines with a few little gaps you can see how soft those edges
are in those white lines along the the pavement just to give that that soft
feel to the scene and then I am working on a slight slope here maybe the paper
is about 10 degrees or so something like that on my in my studio if I’m painting
plein air I might actually be a steeper angle in fact on the day I didn’t have
an easel that’s all that just had a very bit of very simple bit of corex board
wishes a lightweight plastic board and take my paper to that so it didn’t have
an easel at all and just sat down propped it up against the table and and
started painting at the back of the cafe there I’m peeing a really wet and cold
miserable day I was pretty much the only person in that cafe and so nobody’s
gonna bother you you’re there painting away and not a nice thing about a wet
taste you’ve got a long time to think about things as regards your painting
and the approach whereas on a hot day you’ve got to work really fast otherwise
your paper is drawing really quick and sometimes with water girl you do want to
mix things around you do want you want things to just settle in there and blend
around and you don’t want things to dry too quickly it does it does it probably does help
actually working with a painting like this if you can work in her if you can
stand it working in a colder room or something anywhere that’s fairly humid
so things aren’t gonna dry too quickly you’ve got longer time to work your way
now things are going to dry a lot lighter so I’m just getting in a bit of
sort of soft reflections of the of these pots as I said earlier if you want to
keep going back to my source photo as a reference then open up another tab in
your browser in chrome you can right-click over the tab and do that and
then launch this video again but pause it on the opening a few minutes wait
where I show the picture and fullscreen and then you can actually just tab just
click on the tab to go back or you could open up another window and just have it
have it above this if you want to being slightly more sophisticated so yeah easy
ways of keeping this reference photo open now over on the right hand side I’m
starting with the background and I’ll be using this brush this smaller brush now
quite a lot I’ve started off with a mop brush quite a big mop brush as big as I
have for the size of paper to get in quickly and softly all of the underlying
colors and then this this paper is still very damp and with a smaller brush now
with with actually not too much water on the brush your my my
water bucket is over to the right hand side and I probably won’t be going over
there too much unless I’m just washing out the brush or I do do need some some
extra moisture in in the paint use the finger tips as well just to smudge
things along get those soft edges so it’s primarily here small small brush
small synthetic brush and now I’m getting those you could sink getting
those soft edges hopefully a feeling of this rainy day I haven’t done many rainy
days scenes maybe I’ll do a few more of them as I try and improve my technique
I’m not a one to follow to be honest we’re not want to follow a lot of other
painters so I’m pretty sure rainy days seems there must be loads them up on
YouTube and everyone’s different take on on a rainy day scene
some may even go for hard edges I’m going for soft edges and the way to do
that is as we’ve done here damp paper and and then paint which is not too
thick but when you when you’ve got good quality paper in it it soaks in there
and there the water soaks in it’s all still right down you get these lovely
lovely little soft edges appearing with the brush now we’ve got a very complex
scene behind the pots with all these boats and the more you look at the scene
the more detailed you’re going to see so you yes we have to look at the
photograph for reference purposes or if we’re doing plein air we’re constantly
looking at the scene but not too much you what we’re trying to do here is give
the impression of a dull day it’s not going to be an accurate
depiction of fishing boats we just want the impression of some some of these
fishing boats moored up there it’s not a great day for fishing I guess
so they’re in poor they’re moored up and they’re just shapes now noticed on the
left-hand side things were drawing a little bit too quickly I’m painting in a
a heated in a he’s room and so I’ve just sprayed now the left-hand side I’ve got
a little tiny spray bottle is you can just see some of the marks is made there
on the left-hand side I just need a little spray bottle with a fine spray
just to mist things a fine mister to keep that that side quite wet I wouldn’t
I won’t paint on that side straightaway it’s maybe just a little bit too wet but
I just very gently just put this fine mist spray over that over that left-hand
third you can see some of the little speckles little marks it’s made in the
foreground as well which doesn’t matter it would be difficult to go in with my
clear brush as some clear water to brush again because the danger is you’re gonna
you’re gonna be wiping off some of the paint on that left-hand side so it it
has to be this gentle mister on that left-hand side so now going back to the
middle area just applying a few more darts with his brush and some dark
objects behind these pots so this will give them a bit of definition the lip
under that pot there top of the the trunk of the palm tree and then for
the leaves I’m just mixing a bit of cobalt green bit of Viridian green we
need to go a bit darker pick a bit of burnt sienna that’s quite a nice greener
if you’ve got a green you’ve got some green paint with a brown that makes her
a nice foliage color so to create convincing palm tree fronds I’ve just
put in a slight painted a slight arch and then just flicking the brush from
the from that line and just to create the impression of these little little
leaves then they’ll go fairly soft the papers still quite damp on that side we
don’t want any the last thing we want is any particularly hard edges in this now the middle pot the lip under the rim and the leaves the the fronds of the palm tree
maybe have it slightly different from the first one so they’re not too too
identical and with palm trees you’ve got all this top growth and then the narrow
sort of crown perhaps a few stems of the of the leaves there is a horticultural
term for that I forget it they’re not branches as such the PTO PTAs or
something like that I think it begins with P so just it looks a little bit
different from that right hand palm tree just continue on painting the background
boats so here’s the first crane on the back there so I’m now just beyond that left-hand
edge I’m just beginning to get into that damn patch where I sprayed it with the
mister that fine spray you can see it’s starting to move ever so slightly either
way and it’s giving me that that soft edge this brush has actually got quite a good
point to it so you could use a rigger brush for this some of these little bits
of ropes and rigging that some around the place I’ve got as hair got quite a
good edge on this brush pick up a little hair with all the netting that’s behind the
pots I don’t want to in this scene I don’t want to paint in all the
individual pieces of rope and knots and so on I just want to give the impression
of something some objects there behind no no details at all and I’ll paint over
the masking tape just to continue the line on so there’s no when I peel off
the tape there’s gonna be no nasty gaps where the paper is shearing along that
edge the these right hand boats are still that air is still a little bit
damp and those mass in the distance you can
do a bit of lost-and-found so that vertical mast just a very brief line
drawn with the the paintbrush and there’s gaps in it because we got a we
don’t have a very it’s not very moist at all we very quickly draw that line and
it’s got gaps in is get a bit of a that’s a lost-and-found and that then
gives the impression again of distance it’s loose it’s it’s not too exact
so think about lost-and-found in this also right back to this middle boat and
painting around this figure some introducing some values into the
painting with this figure this light figure against a darker background there
will be something to play with up to the left-hand edge of the middle
pot just with that darker color so it’s going up against her pot now probably
got too hard an edge on these pots limits I’m gonna have to do a bit of
smudging or add in some darker values just to the the edge of the pot just to
break up the the harness that line but meanwhile just crack on doing the this
middle ground and the final pot on the left-hand side so with the fine mist I I put in there
that’s giving me a softer edge already to the the rim of this pot and then
darker still painting the face but of light red and cadmium orange and then the boss and the
figure that figure could actually be B left not probably already put in some
legs now left hand boat very brief lines to describe the the crane at the back
and a few horizontals and pots on the left hand side so I’ve resuscitated this
plant is now living again that’s the thing with anything natural is like
trees bushes shrubs you just sort of make them up because they’re all very
temporary things they’ve they’re growing see you can just change things to see
the composition move those things left and right make them larger make them
smaller just to suit the composition now I thought the composition with this one
is primarily these these five things the three pots the figure and that car and
then just these these lines and shapes behind that to define define the these
fishing boats there is this I’m not sure what this was this dark object could
have been a waste bin or a litter bin or something like I’ve turned the side but
I’ve kept it in there I think it’s um serve the purpose to sort of format it
in a way a little bit of a boundary on the left-hand side because there is a
bit of a gap between the left-hand edge of the left pot and the the left-hand
edge of the painting just sort of filling fill in that gap
not dead center to slightly to the right of the middle of that and I think that
just helps the composition a bit write some lines for the pavement which will
help us will help the viewers eyes go into the scene just helps with
perspective and distance so I’m pretty much all I’m almost following the lines
I drew in initially so you can see now the the sky is gone lighter no the
foreground is gone lighter mm-hm so that’s why I say the beginning you’ve
got to go darker gonna go darker than you than you think to compensate with the the way that
watercolor dries so around the cranes there’s pulleys and
rigging and so no need to get that in back to the pavement a few horizontals
just here and there not every single one just a few I’ve decided to paint him the legs of
that figure I couldn’t I could have left the lung painted out she it was alright
before but may may be more appropriate wearing darker darker trousers connecting up with the pot and as I did on the right hand side to
continue over the tape so when I peel off the tape it’s gonna be a nice crisp
edge nice left hand edge to it you can tell the papers beginning to dry now
because the paint isn’t spreading as it was a few minutes back so there’s gonna
be a few little hard lines now with us with this rigging but overall we’ve got
the feeling of softness there are many paintings when I’m
actually using this small brush for a majority of the painting normally if you
see my other videos it’s not brush or different sizes and what brushes so this
is quite unusual for me but I think I think it works quite well a few little curved marks there to
indicate maybe a part or a little bit of rigging there is actually quite a a very dark
patch to the right of that figure so I’ll put that in shortly so these lines
either side of the pots they’re just helping to define those pots a bit more back to the figure give give this figure
some arms I’ve just some clear water there I went in with
the with a bit of brown but it was a little bit too dark in value I want that
I want the one that figured to be slightly lighter than the background and
just a just a hint of a little bit of light hitting the head and the shoulders now just in the crown of these palm
trees there is a little bit of darkness so I’m going in with some darker values
just to give a bit more form to them so they’re not too not too flat in
appearance a few stalks of the leaves I’ll remember what they’re called surely careful not to go over the head just
finding a few more smaller liners to smaller details to these boats trying to paint what I see not what not
what I think is there but just now and again looking at the reference photo
there’s a banners really looking at the photo just for a bit of inspiration and
picking up the impression the scene but not overdoing it and yet so you’re
noticing all the portholes and every single piece of rigging and pulleys and
so on there’s a there’s a balance to it which just just comes with practice and
your own particular style whether you’re whether you’re a loose style or a a
tighter starter painting emerging is just a little bit wet on the
surface have added a bit of reflections for some of the dark darker objects
between the pots trim upper left-hand edge of the pot
which is a little bit too far extending out to the left so the pullers and just a bit of rigging
across the scene a few little dots now with the brush it’s just that’s just the
way the way I my up my particular style with his brush just adding in at this
stage of the painting a few little brush marks here and there to give the
impression of some movement in things or in a street scene bits of litter and
chippings and something like that I’m getting towards the end of the painting
and nothing need to I have got the top right corner the bottom right corner to
do which I’ll go back to a bigger brush to do that some taillights for the car there’s not much red in the scene but
I’ve just dabbed in a few bits of red on the boat it could be something in the
structure or you don’t have to find a few quite quite bright red so on boats
there could be the fenders could be um a lifebuoy the sonar or radar system that
could be read as well so here’s the top canopy of the cafe where where I was
sheltering under and a good straight edge with a big mop brush nothing too
detailed over to the edge over the masking tape and then something very quick in the bottom right
corner this didn’t feature too much in the source photograph so I’m sort of
having to make it up just give the impression of these tables and some legs and with a smaller brush bit of water it’s that this is down in the bottom
right corner so I don’t want to spend a lot of time on it and their danger is
the more I’m fiddling about with it the more it’s gonna become a feature of the
painting I just want to be very simple and I do often make a mistake of
including too many things around the borders of a painting and I want the
with the painting I think you need to have most of the attention in the middle
portion of the painting but but not on the extremities of the painting or think
of the corners of the paint you know down down the left hand side or the
right hand side so gotta be a bit careful of course the big the big danger with
any painting particularly with watercolor is knowing when to finish and
I’m strolling struggling with that now I could go on adding in more and more to
the scene but part of me is saying just keep it really brief there’s some
reflections of those cranes in the back of the boat so I hadn’t drawn those in
just just think it needed it a little bit more now a few little lines there just to
depict maybe a few raindrops and that’s the big question do you actually paint
in rain or do you just give the impression of rain with some with some
diagonal marks like this or some way of rendering the background to depict there
that sort of thing these shards of raindrops coming down so I’ve just gone
for a few little diagonals there just to say that you know this is this is a
little bit of rain now these pots I do need to add a little bit of darkness to
the sides and with this figure I’m mucking about
with the legs now really I should have I think with hindsight I probably should
have stopped adding another layer on the trousers I think you’ve got to be your
own critic best critic when it comes to paintings you you know the process
you’ve gone through you do a little debrief at the end of the painting you
think well what could I have done better what what were the main problems the
challenges are how could I improve things the next time around and just
trying every painting you do just try and be half a percent or one percent
better than the last painting hopefully things get better and you hone your your
techniques so put in a vertical there let’s put in
the reflection of that vertical a few lines on either side of the pots I’ve just spotted a pulley I could put
in maybe another one on the left hand boat as well few more verticals I think every
painting needs some strong lines somewhere a strong vertical or a strong
horizontal use the use my fingertips a little bit
just to smudge things or I’m almost I guess I’m almost lifting off as I
painting now I think what I’ve done I put too much paint on there so just
quickly do a bit of smudging with the fingertips here’s that darker area I think it just
needed it in there it’s quite a bit more definition to the top of the netting
that was in front that figure and a bit more definition to the fishing boat darker line against the table and canopy
at the top here’s my picture then a rainy day
trying to give the impression of a dull day and the techniques I used was to do
the drawing first of all but then dance the whole paper make it really damp and
with a smoke wallet then I went to with my wash so nice cool light color for the
this guy it’s the thing with dull days you’ve got very little values to play
with it’s all dreary and miserable and that’s what you you’re trying to portray
that feeling but I decided to keep the sky very cool and then the the actual
Harborside the pavement quite warm with a bit of bit of weak Alison crimson and
then these pots were sort of creamish colors so I just went in with a weak
yellow and then continued that that color down into the the pavement just to
imply that’s a bit of reflection of of those pots and then going in
everything was damp going with a smaller brush starting with the right hand side
you can see these these soft edges that we’ve got in there do you see all the
these soft edges which we achieve with that that damper paper the second thing
I used was the spray so as I was starting on the right hand side I
noticed the left hand side was getting a little bit too dry so I had a fine mist
a fine mister just to spray this whole area here as I was working in the middle
and then by the time I came over the left hand side this this moisture level
was the damage was just about right for me to to start painting but you get all
these lovely soft edges inevitably as the paper
as the paint dries we do have a little bit of few harder edges and then going
with the details in the end but trying to get a good drawing correct thinking
about the composition thinking about the colors warm and cool going back to
composition I have my three main pots car on the right hand side figure as
well and as with any painting knowing when to stop so thanks for watching
catch up with you on the next video

6 thoughts on “🆕HOW TO PAINT A RAINY DAY SCENE – Painting Demonstration with full instructions!🌧☔💧

  1. Hi Tim . A good method to create a rain effect in watercolours is to use a clean rubber at the final stage,but one must be brave to do this as there's no going back. It's possible to lift a little of the colour in directional lines which is very subtle but quite convincing.Keep painting !

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