Fountain Design Essentials – Welcome to Fountain Lights
Fountain Design Essentials – Welcome to Fountain Lights
The mesmerizing beauty of water is an endless source of fascination for artists, photographers, and nature enthusiasts alike. As Leonardo da Vinci once said, “water is the driving force of all nature.” Whether it’s the frothy crash of ocean waves or the soothing serenity of a calm lake, the colors and reflections of water have the power to captivate the senses and stir the soul.
But when it comes to capturing the essence of water on canvas or in a photograph, what colors do we use? Is it always a shade of blue, or is there more complexity to the hues we see? And how do these colors and reflections interact with the surrounding environment to create a truly enchanting scene?
In the world of painting, the challenge of capturing water often lies in understanding its nuances. As renowned artist Jack Wilkinson Smith demonstrates, the reflections on the water’s surface are often darker than the objects they mirror. This principle can be seen in a photograph from Alberta, Canada, where the reflected sky appears noticeably darker than the actual sky above.
Similarly, in a cityscape from Indianapolis, the reflected building on the canal appears deeper and richer in color compared to the actual structure. Smith’s paintings beautifully illustrate this concept, with his reflections being noticeably darker than the subjects they mimic.
However, as with many artistic endeavors, there are exceptions to this rule. The work of artist Michael O’Toole presents an example where the water reflection appears lighter than the actual scene, creating a more inviting path for the viewer’s eye and enhancing the overall painting.
Acrylic University notes that while blue is a common color associated with water, it is by no means the only hue we observe. Water can range from silver to orange and even light yellowish-green, as seen in the paintings of Min Ma and Anna Althea Hills. Artist Edgar Payne has even introduced warm peachy hues into his depictions of water, demonstrating the versatility of this medium.
The dual nature of water, being both reflective and translucent, is another fascinating aspect to consider when painting. Robert Genn’s work beautifully illustrates this balance, allowing the viewer to see both the reflections on the surface and the underlying elements below.
To better understand these principles, let’s practice painting a scene inspired by the Jack Wilkinson Smith painting we explored earlier. We’ll use a simple palette of Titanium White, Cadmium Yellow Light, Cadmium Orange, Cadmium Red Medium, Ultramarine Blue, Mars Black, and a gray to create our own interpretation of the crashing waves and rocky shoreline.
Before we start painting, it’s essential to consider the composition of the scene. Smith’s painting has a dynamic, energetic feel with the crashing waves, and we want to replicate that in our own work. I prefer using a paint marker for the initial sketch, as the color doesn’t significantly impact the painting process, and it can be easily layered over with paint.
As I examine the reference image, I notice that the viewer’s eye is drawn to the area with the rocks and the big wave. We’ll want to ensure our composition highlights this focal point as well.
After the initial sketching, I observe that there are some areas that need more depth and definition. I use a brush to paint over the darker sections, incorporating a mix of warm black, black with a tinge of red, and a lighter gray to create the desired shadows and contrast.
To provide a warm, cohesive undertone to the painting, I apply a Quinacridone gold wash across the entire canvas. This transparent color allows the initial sketch and darker painted areas to remain visible, creating a sense of depth and unity.
With the canvas toned and the initial sketch in place, I begin blocking in the colors, matching the hues and values from the reference painting as closely as possible. I’m not overly concerned with perfection at this stage, as I know I’ll be refining the details later. The goal is to capture the essence of the colors and establish a solid foundation for the rest of the painting.
To tackle the water, I start by mixing the initial blue color I observe, blending in a touch of yellow to achieve the slightly greenish tone. As I move up the canvas, I gradually add more white to the mix, creating the illusion of the water becoming lighter and more reflective towards the horizon.
I also pay close attention to the warmer colors reflected from the surrounding environment, subtly incorporating hints of orange into the wave crests to enhance the overall realism.
To bring the waves to life, I use pure white to create the bright, frothy highlights, contrasting them against the darker, more ominous sections of the water. I then turn my attention to the rocks, filling in the lighter areas and adding the blue-violet shadows that help define the crevices and depth.
Throughout the process, I continuously step back and evaluate the painting, making adjustments to the colors, values, and details as needed. The key is to remain observant and adaptable, constantly striving to capture the essence of the scene rather than simply copying it.
Painting water is a continual exploration, and as artists, we must be willing to observe, experiment, and adapt to the unique characteristics of our subject matter. While there may be general principles and techniques to guide us, the true magic lies in our ability to interpret the world around us and translate it onto the canvas in a way that evokes emotion and a sense of wonder.
Whether you’re a seasoned painter or just starting your artistic journey, embracing the captivating world of water can unlock a realm of endless possibilities. So grab your brushes, mix your colors, and embark on a journey of discovery, where the reflections and hues of the water become a canvas for your creative expression.
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