SPECIALTY PROGRAM

Painting Mood and Atmosphere

in Gouache
Meteor Strike

OVERVIEW
In this assignment we have an apocalyptic event whose major effect is one of intense glare along with
being very disturbing. The horizon has been tilted to upset the viewer’s sense of ease and additionally
to counter-balance the angle of the streaking meteors. Glare at this level and softness is typically
thought of as the province of the air brush. Dr. Ph. Martin's Bleedproof White (fully compatible with
gouache) has been used due to its opacity and brilliance.
Note the various sizes and varied spacing of the meteors. There are three major ones and several much
smaller, actually little more than streaks. A river meanders into the composition leading us directly
toward the main meteor and offering a highly reflective surface to mirror the glare. The skyline ends
on the right with a tall building which stops our slide to the lower right. Two major bridges converging
to left center also help to keep the viewers eye in the center of action. The darkest values in the picture
are furthest from the glare.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1
 SPECIALTY PROGRAM
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Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 2
1
 SPECIALTY PROGRAM
Painting Mood and Atmosphere
in Gouache
Meteor Strike

Wet the board and using long

strokes of a very light yellow
wash, cover the surface with
parallel diagonals. Keep
adding a bit more orange and
yellow as you get further from
the large meteors. There is
just a touch of Ultramarine
Blue added at three of the
corners. It is best at these
points to brush lightly onto
the board from outside
stroking inwards. Once the
yellows are applied, blot the large meteors and their tails to remove most of the color, and while still damp
using pure white, paint in the large meteors. It is best to use the ruler and brush boldly away from the head
and off the page in nice long strokes. Remember to use a large brush for the big background wash or it will
look spotty.

The next step is: Using a thin, yellow wash with some white in it, brush around the principal meteor’s head
and along its tail to get the glare surrounding it as seen below. Painting the strokes with a large brush
should also lighten the buildings nearest the head. You can use clear water to fuzz these strokes softly into
the general background. Light
blotting can also help. Add
some bright white reflections
in the river as shown. Put
some light orangeish-brown
color into the buildings being
careful to stay very light
and warm where the glare is
highest and while adding a
bit of Ultramarine Blue to the
browns furthest from the light.
Add vertical light edges to
meteor facing sides and some
light flat roofs. Add a few light
water reflections.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 3
 SPECIALTY PROGRAM
Painting Mood and Atmosphere
in Gouache
Meteor Strike

The next task is to add the small calving meteor chunks and their streaking tails. Using a slightly less
bright color and the ruler, lay down a long, dry brush stroke from the head going off the page. Using
pure white and starting at the head, drybrush a shorter distance on the same path. A trick is to keep the
ruler resting on the board while you load the brush with white. This ensures you will paint the exact
same path. The buildings should now get cleaned up with nice even strokes using the ruler. Add some
occasional soft, vertical lines in a few structures and some additional lines of varying darkness parallel
to the tilted horizon. A few should be lighter as well and some miscellaneous sparkles. You can use the
image below as a guide. Our intent here is not to immaculately detail but rather to crisply and simply
indicate the city.
The most important elements are: the overall silhouette with a major gap at the river, allowing a large
meteor to be clear of structures with the meandering river leading us to it. The two major roadways
lead us into the city at converging angles, while the cluster of buildings at lower right keep the picture
from sliding out of the corner. This demonstrates that you don't need an airbrush real or digital to
achieve glare.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 4