plate no. 1241

Above the roofs of Karlovac

Alfred Freddy Krupa, 2007

watercolorNew Realismcityscapecityscapebuildingstreesskyarchitecture

what to study here

It shows how one sharp, dark vertical can carry a whole composition when everything else is soft, pale, and wet-into-wet.

Study how the painter controls value and edge to set one small dark shape against a very large pale one. The sky takes up most of the picture and stays close to white paper, with only faint warm and cool shifts. Against it, the church spire drops to a deep navy-black and is the only place with crisp edges. Nearly everything else is soft, worked wet-into-wet so colors bloom and merge. Squint and the picture breaks into three masses: light sky, a medium-to-dark cluster of trees and buildings, and darker foreground roofs. The large tree mass at center-left is built from layered, feathery washes with visible granulation, plus some dry-brush and stippling where pigment catches the paper tooth. Architecture is kept minimal and described by value shifts and paper texture rather than drawn lines. The foliage is muted sage rather than bright green, and the warm rust-brown roofs sit against it. Ask where the painter stopped adding detail, and why the spire alone gets a hard edge.

key decision

The painter kept nearly every edge soft and the sky almost bare paper, then gave only the church spire a crisp edge and the darkest value. That makes the spire the clear focal point.

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.

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

The painting is a bird's-eye view of Karlovac with a pale, nearly luminous sky dominating the composition—the light source is diffuse and overcast, giving the scene a cool, atmospheric quality. Your eye is immediately drawn to the dark church steeple with its precise pointed spire on the right, which creates the painting's strongest vertical accent and primary focal point. A massive, densely foliaged tree mass in the center-left grounds the middle distance, while warm rust-brown roofs and a smaller reddish tower anchor the foreground; the composition recedes through layers of progressively lighter, softer foliage.

value structure

The value range is dramatic: the sky is among the palest whites (with barely perceptible warm and cool shifts), while the church spire drops to deep navy-black—this high contrast commands attention. The foliage and roofs occupy the mid-to-dark range, creating a clear value separation between luminous sky and earthbound architecture. Squint, and you'll see three distinct masses: the very light sky, the medium-to-dark tree and building cluster, and the darker foreground roof elements.

observed palette and mixes

#514e44
Burnt Sienna + touch of Ultramarine
Darkest roof shadows, tree trunk shadows, architectural recesses in foreground
#ddd8d0
Pale wash of Cerulean or Payne's Grey on white paper
Sky and pale areas where paper breathes through
#7e7d67
Sap Green or Viridian + Burnt Sienna
The dominant tree mass in center-left; muted, soft greens
#afac92
Raw Sienna + touch of Ultramarine
Mid-tone architectural surfaces, walls, and buildings
#e8e4df
White paper with minimal wash overlay
Brightest sky, paper texture throughout
#5b4e7d
Ultramarine + Alizarin Crimson
The church steeple—deep navy-purple with warm undertones

edges and brushwork

Nearly all edges in this painting are soft and diffused, created by working wet-into-wet and allowing colors to bloom and merge on damp paper. Only the church spire maintains crisp edges where it reads against the sky—a deliberate contrast that makes it pop. The foliage is suggested through layered, feathery wet washes with visible granulation; architectural details are minimal, relying on value shifts and the paper's texture rather than drawn lines. Dry-brush and stippling add texture to the tree masses where the pigment catches the paper tooth.

a working sequence

01
Sketch and preserve key elements
Lightly pencil the horizon line, the silhouette of the large central tree mass, and the location of the church spire. Apply masking fluid to the spire and its immediate surroundings—this small vertical accent is critical and must stay paper-bright. Also mask any white building highlights you want to preserve on the right side.
02
Wash the sky
Wet the entire sky area with clean water. While wet, drop in a pale mixture of Cerulean or Payne's Grey, working darker toward the top and allowing the paper to remain luminous near the horizon. Introduce barely perceptible warm grey (touch of Raw Sienna + grey) in patches. Let this settle—do not overwork. The sky should feel atmospheric and soft.
03
Establish the dominant tree mass while paper is damp
While the sky wash is still damp (not dripping wet), apply the dark sage-green foliage mass in the center-left. Use Sap Green or Viridian with a touch of Burnt Sienna to gray it down. Let the edges feather into the damp sky, creating soft transitions. Build the shape with the texture visible—stipple and dab rather than smooth.
04
Add foreground architectural elements
Once the tree is dry enough, lay down the warm brown rooflines in the foreground with Burnt Sienna mixed with ochre. Keep these shapes loose—suggest the roofs through value and edge placement rather than precise drawing. Layer a second, darker glaze over the shadow sides using Burnt Sienna + touch of Ultramarine, letting it pool and soften.
05
Develop surrounding foliage and walls
Add the pale greenish-grey foliage on the right and left with a light wash of Viridian or Sap Green mixed with grey (Payne's Grey or Ultramarine + Raw Sienna). Work around the small tower on the left, leaving it warmer and less saturated. Let these washes stay soft and suggest form through color temperature shifts rather than hard edges.
06
Paint the church spire and tower
Remove the masking fluid carefully. Now paint the church steeple with concentrated Ultramarine + touch of Alizarin Crimson for depth—it should read as deep navy-purple, nearly black. Paint the tower base in warmer rust-brown (Burnt Sienna), allowing the spire to sit crisply against both the sky and the tower below. The small reddish tower on the left gets a warm brown wash, darker underneath.
07
Deepen foliage texture and shadows
Glaze the tree mass again with deeper greens, adding layers of Sap Green + Alizarin or Ultramarine to create shadow and depth. Use dry-brush and stippled marks to show foliage texture; leave lighter passages to suggest internal form. Strengthen the shadows beneath and around architectural elements with darker mixes of your base colors.
08
Final refinement and atmospheric touches
Step back and assess values. The spire should read as the darkest dark; the sky as the palest light. Soften any hard edges that feel too graphic with a damp brush. Add final touches: a pale warm wash over distant vegetation to push it back, a whisper of shadow under the eaves, subtle color shifts in the tree to suggest internal form. Trust the watercolor to do the work—resist overpainting.

where studies of this painting go wrong

Overworking the sky—it must stay luminous and pale. Apply the wash and let it breathe; resist the urge to fiddle or add too much pigment. A muddy sky ruins the entire atmospheric effect.
Making the foliage too solid or detailed. This tree is suggested through soft greens and texture, not mapped out. Keep the edges feathered and let the shapes emerge from value alone.
Losing the church spire. It is small but commanding—if you don't mask it and preserve its brightness against the sky, it disappears. Alternatively, save it carefully at the end by painting around it with precision.
Mixing muddy or over-saturated greens. The foliage reads as muted sage-green, not bright garden green. Always cool your greens with a touch of brown or purple, and don't overblend—let some granulation show.
Painting too carefully or tightly. This entire work relies on loose, wet watercolor technique. If you move toward detail or hard edges in the buildings and trees, the atmospheric quality vanishes. Suggest, don't describe.

measured difficulty