plate no. 4214
The tree on Adriatic Coast and Velebit Mnt. (24th July 2014)
Alfred Freddy Krupa, 2014
recreation guide
Alfred Freddy Krupa’s 'The tree on Adriatic Coast and Velebit Mnt. (24th July 2014)' is a contemporary realist watercolor that captures a specific topographical view of the Croatian landscape. As a pivotal figure in the Western New Ink Art movement, Krupa’s work often bridges traditional ink techniques with modern realism (Source 8). This piece, dated specifically to July 24, 2014, likely reflects his practice of documenting real views with varying degrees of accuracy, consistent with the tradition of landscape painting where the primary purpose is to depict an actual, specific place (Source 4). The artwork falls within the genre of landscape painting, which traditionally depicts natural scenery such as mountains and trees, arranged into a coherent composition (Source 4).
estimated time
10-15 hours over 3-5 sessions
materials
5 items
steps
4 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| High-quality watercolor paper | Support for the watercolor medium; must be made from linen rags or cotton to prevent staining and ensure durability. | 100% cotton cold-pressed watercolor paper (e.g., Arches, Saunders Waterford) |
| Professional grade watercolor paints | Provides high pigment concentration allowing for transparency and intensity without losing color strength when diluted. | Artist-grade pan or tube watercolors |
| Gum arabic | Acts as the agglutinative (binder) for the pigments, essential for traditional watercolor consistency. | Included in professional watercolor paints; can be added separately for glazing effects. |
| Chinese White (optional) | Used to create opaque effects if needed, though traditional watercolor relies on transparency. | Opaque white watercolor or gouache white |
| Brushes | For applying washes and details. | Natural hair brushes (sable) or high-quality synthetic equivalents |
preparation
surface prep
The paper should be dry and free from dampness to prevent sizing fermentation and decomposition (Source 1). It is recommended to use paper made from linen rags or cotton, bleached by pure water, air, and sunshine rather than chemical agents like chlorine, which can burn the linen and destroy colors (Source 1). The sizing should be evenly distributed within the paste, not just on the surface, to prevent irregular sponginess and stains during prolonged work (Source 1).
underdrawing
While specific preparatory methods for this exact painting are not detailed in the sources, Krupa’s background in ink art suggests a strong foundation in line work. Contour drawing techniques, which emphasize mass and volume through outlines, may have been used to establish the forms of the tree and mountains before applying washes (Source 6). However, in traditional watercolor, the underdrawing is often light and may be painted over.
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 traditional 'underpainting' in the oil sense; instead, the artist likely began with light washes, building up layers. The 'wash' technique is central, where colors are applied in transparent layers (Source 1).
color palette
Earth tones (browns, ochres)
Burnt Sienna, Raw Umber, Yellow Ochre
Likely used for the tree trunk and earthy elements of the Adriatic coast landscape.
Greens
Viridian, Sap Green, Yellow Ochre
Foliage of the tree and vegetation on the Velebit Mountain.
Blues
Ultramarine Blue, Cerulean Blue
Sky and atmospheric perspective of the mountains.
Whites/Lights
Reserved paper or Chinese White
Highlights on the tree and clouds, as the paper is reserved for lights in traditional watercolor (Source 1).
composition
The composition likely follows the principles of landscape painting, where natural scenery such as mountains and trees are arranged into a coherent whole (Source 4). The sky is almost always included in such views, and weather conditions may be an element of the composition (Source 4). As a topographical view, the painting aims to depict a specific place, the Adriatic Coast and Velebit Mountain, with accuracy (Source 4). The arrangement of elements likely uses line, shape, and value to guide the viewer's eye through the scene (Source 2).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Lightly sketch the main forms of the tree and the mountain range using a pencil or light ink wash. Focus on the contour and mass of the subjects rather than fine details.
Tip — Ensure the lines are light enough to be covered by subsequent washes.
Contour drawing
first pass
step 02
Apply the first layer of washes, starting with the lightest colors (sky and distant mountains). Reserve the white of the paper for the brightest highlights.
Tip — Work from light to dark, allowing each layer to dry completely before adding the next to maintain transparency.
Wash technique
refining
step 03
Build up darker tones for the tree trunk and foreground elements. Use glazing techniques to deepen colors without losing transparency.
Tip — Avoid overworking the paper to prevent staining and loss of sizing integrity.
Glazing
finishing
step 04
Add final details and adjust values. If opaque effects are needed for specific highlights, use Chinese White sparingly.
Tip — Ensure the paper remains dry and free from dampness to preserve the sizing.
Opaque watercolor
critical techniques
Transparency and Wash
Watercolor is characterized by its transparency, where the gum binder is absorbed by the paper, leaving pigment particles that allow the paper to shimmer (Source 5). The wash technique involves applying diluted pigment in layers, reserving the paper for lights (Source 1).
Topographical Accuracy
As a landscape painting depicting a specific place, the artist likely aimed for a degree of topographical accuracy, capturing the actual features of the Adriatic Coast and Velebit Mountain (Source 4).
common pitfalls
- →Using paper that has suffered from dampness, which can cause the sizing to ferment and decompose, leading to stains (Source 1).
- →Overworking the surface, which can wear out the sizing and expose the irregularly spongy interior of the paper (Source 1).
- →Using chemically bleached paper, which can burn the linen and be destructive to the colors (Source 1).
- →Losing the transparency of the watercolor by applying too many opaque layers, unless intentionally using Chinese White for specific effects (Source 5).
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 Krupa for this exact painting is not detailed in the sources.
- ·Exact brushwork techniques or specific ink/watercolor ratios used by Krupa are not described.
- ·The specific compositional layout (e.g., placement of the tree relative to the mountain) is not described 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 wash techniques.
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 landscape painting, topographical views, and inclusion of sky/weather.
Wikipedia: Watercolor painting↗
- Watercolor painting — part 1 — applied to Transparency, gum arabic binder, and use of Chinese White.
Wikipedia bio — Alfred Freddy Krupa↗
- Alfred Freddy Krupa — part 1 — applied to Artist's background in New Ink Art and contemporary realism.
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing techniques emphasizing mass and volume.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
