The Blue Rigi Lake of Lucerne Sunrise

surface prep

The paper must be dry and free from dampness, as dampness causes sizing to ferment and decompose, leading to stains (Source 1). Ensure the paper is properly sized within the paste, not just on the surface, to prevent irregular sponginess during prolonged work (Source 1). Turner’s practice involved working on paper that allowed for the reservation of lights, implying a smooth to medium texture that holds washes without excessive buckling.

underdrawing

Turner was trained as a draughtsman and copied topographical works to perfect his drawing skills (Source 2). However, in his mature watercolors, the drawing often dissolves into atmospheric effects. For this recreation, use a light pencil sketch to establish the composition, but be prepared to let the watercolor washes define the forms rather than rigid lines, consistent with his move away from 'neat renderings of topography' toward conveying mood (Source 2).

underpainting

In watercolor, the 'underpainting' is effectively the first layer of washes. Turner’s technique involved using washes where the paper is reserved for lights (Source 1). Begin with the lightest tones, allowing the white of the paper to serve as the highlights for the sunrise. This aligns with the 19th-century watercolor tradition of building up from light to dark, utilizing the transparency of the medium (Source 1).

Reservation of Lights

Turner’s watercolor technique relies on reserving the white of the paper for highlights, rather than using opaque white paint. This is a hallmark of the 19th-century watercolor style (Source 1).

Atmospheric Illusion

Turner used watercolor to convey mood and atmospheric effects, moving beyond topographical accuracy. This involves using washes and glazes to create a sense of depth and light (Source 2).

Color Contrast

Using contrasting colors to enhance the beauty and purity of hues. Placing non-analogous colors in contiguous bands can produce a greater effect than blending them (Source 7).