My painting technique is based on an intuitive approach to watercolour, so all subjects are painted in a similarly loose way. My landscapes are no different. I am always striving to paint something that conveys a certain mood and has an effect on the viewer.
I have been lucky to teach watercolour painting in so many countries over the last 20 years, but one of the most beautiful places I have been is the Indonesian island of Bali. I love the sunny summer days there; all tropical nature, vibrant greens and stunning skies. That’s what I aimed to represent: a typical Bali landscape.
The painting is based on a sketch I made when I last visited Bali. The painting’s composition could be divided into two parts: the larger area of the sky (filled with moving clouds, interesting highlights and a diversity of blues) and the smaller foreground (represented by a few buildings, palm trees, tropical plants and green grass).
My painting relies on the contrast between these two areas. The foreground here acts as a support for the sky area, painted with a darker tonal value and fewer details so that all the attention is drawn to the sky. I also chose a low horizon line to further enhance the sense of depth and interest in the composition. www.fabiocembranelli.com
Fabio’s materials
•Paper Arches Aquarelle 300gsm watercolour paper, 61x46cm
•Brushes Rounds, sizes 6, 10 and 16; flats, sizes 1/2”, 3/4” and 1”; rigger, size 2
Esta historia es de la edición November 2020 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición November 2020 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
