Morning fresh snow: chestnuts (en plein air)

surface prep

The surface should be high-quality watercolor paper, ideally made from linen rags or cotton to prevent staining and ensure durability (Source 1). The paper should be dry and free from dampness to avoid sizing fermentation (Source 1). For en plein air work, the paper may be mounted on a board or used in a portable sketchbook to withstand outdoor conditions (Source 3).

underdrawing

Krupa’s specific preparatory methods are not detailed in the sources. However, en plein air painting often involves rapid execution to capture changing light, suggesting a minimal or loose underdrawing if used at all (Source 3). The artist likely sketches the basic composition of the snow and chestnuts lightly before applying washes.

underpainting

Watercolor technique typically relies on the transparency of the medium, where the white of the paper is reserved for lights (Source 1). There is no evidence of a traditional opaque underpainting; instead, the artist likely builds up layers of transparent washes, allowing the paper to shimmer through (Source 2).

Transparency

Watercolor’s main characteristic is transparency, achieved by allowing the gum binder to be absorbed by the paper, leaving pigment particles on the surface (Source 2). This is crucial for depicting the luminosity of snow.

Loose Brushwork

Associated with the Barbizon School and Impressionism, loose brushwork helps capture the changing details of weather and light in en plein air painting (Source 3).

Reserving Lights

In traditional watercolor, the paper is reserved for the lights, which is essential for depicting the brightness of fresh snow without using opaque white paint (Source 1).