 |
Note how important is the shape of the small pieces of colour in the water, both falling across the sill, and in the chamber itself.
Now these areas on the drawing have been painted we can see how these shapes define the movement of the water, create the perspective, and make it all work.
The secret g lay in the careful observation and drawing of these shapes, and of the falling water. I was concerned to capture the effect of light across the gates, so this was painted in next. Using the same mixture of liftable pigments, plus Burnt Umber, the shadow was painted across the gate and continued across the right-hand lock wall to unite them together. The dark recesses of the gate were also painted carefully following the drawn lines. |