plate no. 1241

Above the roofs of Karlovac

Alfred Freddy Krupa, 2007

watercolorNew Realismcityscapecityscapebuildingstreesskyarchitecture

recreation guide

Alfred Freddy Krupa’s 'Above the roofs of Karlovac' (2007) is a watercolor cityscape executed in the style of New Realism. As a cityscape, it falls under the broader tradition of landscape painting, which includes urban landscapes and topographical views that depict specific places with buildings prominently featured (Source 4). The work likely emphasizes the structural mass and volume of the urban environment rather than minute decorative details, consistent with contour drawing principles that prioritize form, weight, and space over minor intricacies (Source 6). The medium is watercolor, which, according to historical technical standards, involves a complex style that can include transparencies and washes where the paper is reserved for lights (Source 1). While Krupa’s specific New Realist approach may incorporate modern techniques, the foundational practice of watercolor relies on gum-arabic as an agglutinative agent and requires careful management of the paper’s absorbency to prevent staining or irregular sponginess (Source 1). The composition likely avoids exact bisections and utilizes a center of interest to guide the viewer’s eye through the urban forms, adhering to general principles of visual composition (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
High-quality watercolor paper (linen rag preferred)	To provide a stable, non-absorbent surface that prevents staining and supports multiple washes.	Cold-pressed 300gsm cotton or linen rag watercolor paper
Professional grade watercolor paints	To achieve the necessary transparencies and opacities required for the New Realist style.	Pan or tube watercolors with gum-arabic binder
Hake brushes and round detail brushes	For applying broad washes and defining structural contours.	Synthetic or natural hair watercolor brushes
Pencil (HB or 2B)	For initial underdrawing and contour sketching.	Standard graphite pencil

preparation

surface prep

The paper should be dry and free from dampness to prevent the sizing from fermenting or decomposing, which would cause stains and irregular absorbency (Source 1). Ideally, the paper should be made from linen rags and bleached by natural means (air, sunshine, pure water) rather than chemical agents like chlorine, which can burn the fibers and destroy colors (Source 1). The sizing must be evenly distributed within the paste, not just on the surface, to ensure the paper does not become irregularly spongy during prolonged work (Source 1).

underdrawing

Begin with a contour drawing that emphasizes the mass, volume, and three-dimensional perspective of the roofs and buildings rather than minor details (Source 6). The lines should convey form, weight, and space, potentially using lighter values to suggest distance and darker portions to represent areas with less light or lower elevation (Source 6). This foundational sketch serves as the structural guide for the subsequent washes.

underpainting

Apply initial washes to establish the general tonal values and atmospheric conditions. In watercolor, the paper is often reserved for the lights, meaning the brightest areas should be left blank or lightly touched during the first passes (Source 1). Use neutral tints or diluted colors to map out the composition, ensuring that the horizon line is positioned to emphasize either the sky or the ground, avoiding an exact bisection of the picture space (Source 3).

color palette

Neutral Tints

Diluted earth tones (umber, sienna) mixed with cool grays

Establishing the base washes and atmospheric perspective, consistent with historical watercolor practices that often confined sketches to a few neutral tints (Source 1).

Cool Blues and Grays

Cerulean blue, ultramarine, and Payne’s gray

Depicting the sky and shadows, leveraging the complementary contrast with warmer roof tones if present, though specific hues are not detailed in sources.

Warm Earth Tones

Burnt sienna, raw umber, ochre

Rendering the roofs and building facades, providing contrast against the cooler sky and shadows.

composition

The composition should feature a clear center of interest to prevent the image from becoming a mere pattern (Source 3). The viewer’s eye should be led around all elements before exiting the picture, with the prominent subject (likely a cluster of roofs or a specific architectural feature) placed off-center to balance smaller satellite elements (Source 3). Avoid exact bisections of the picture space; instead, position the horizon line to emphasize the sky or the ground, depending on the desired atmospheric effect (Source 3). Use detailed areas contrasted with 'rest' areas to guide the viewer’s gaze, ensuring that no spaces between objects are identical to create visual interest (Source 3).

step by step

underdrawing→first pass→refining→finishing

underdrawing

step 01
Sketch the main structural lines of the roofs and buildings using a pencil, focusing on contour and mass rather than fine detail.
Tip — Use lighter lines for distant elements and darker lines for foreground structures to suggest depth.
Contour Drawing

first pass

step 02
Apply a light, even wash of neutral tints to establish the overall tonal structure, leaving the brightest areas (lights) unpainted.
Tip — Ensure the paper is properly sized and dry to prevent uneven absorption and staining.
Wash Technique

refining

step 03
Build up layers of color, adding darker values to shadows and defining the edges of the roofs. Use complementary colors to enhance contrast if applicable.
Tip — Allow each layer to dry completely before applying the next to maintain transparency and prevent muddiness.
Layering Washes
step 04
Add details to the center of interest, using higher contrast and sharper edges to draw the viewer’s eye.
Tip — Balance detailed areas with 'rest' areas to avoid visual clutter.
Detailing

finishing

step 05
Review the composition for balance, ensuring the horizon line and focal points adhere to compositional principles.
Tip — Check that no spaces between objects are identical and that the eye is led through the entire image.
Compositional Adjustment

critical techniques

Reserving Lights

In watercolor, the paper is reserved for the lights, meaning highlights are created by leaving the paper unpainted rather than adding white paint (Source 1).

Contour Emphasis

Focus on the outlined shape and mass of the subject to convey three-dimensional perspective, length, width, and depth, rather than minor details (Source 6).

Compositional Balance

Position the prominent subject off-center and use a center of interest to guide the viewer’s eye, avoiding exact bisections of the picture space (Source 3).

common pitfalls

→Using paper that has suffered from dampness, which can cause the sizing to ferment and decompose, leading to stains and irregular absorbency (Source 1).
→Applying surface sizing that wears out during prolonged work, revealing an irregularly spongy interior that causes stains (Source 1).
→Creating a composition with exact bisections or identical spaces between objects, which can result in a static or pattern-like appearance (Source 3).
→Overworking the details, losing the emphasis on mass and volume that defines the contour drawing approach (Source 6).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific color palette used by Alfred Freddy Krupa for this particular painting is not detailed in the sources.
·Exact brushwork techniques specific to Krupa’s New Realist style are not described; general watercolor and contour techniques are used instead.
·The specific atmospheric conditions or weather depicted in 'Above the roofs of Karlovac' are not detailed in the sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper preparation, sizing, and the technique of reserving lights in watercolor.

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Definition of cityscape as a type of landscape painting and topographical view.
- Landscape painting — part 13 — applied to Classification of the artwork as a cityscape/urban landscape.
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Compositional principles including center of interest, horizon line placement, and balance.
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique emphasizing mass, volume, and form over detail.