Art Lesson Two
The Forgotten Light.

Title: The Forgotten Light 16x22 Watercolor

In this second lesson I wanted to find an old building or farmhouse but nothing interested me at the time to paint so I went to my old favorite, old lighthouses.

Let me introduce what I call The Forgotten Light or Race Point Light to the locals on Cape Cod, Massachusetts. It was built in 1816 where Cape Cod forms its westward knuckle and is where hundreds of ships were lost. This light was called the forgotten light by its keepers because of its isolation. It’s the isolation that makes it a beautiful place to paint. I’m also attracted to Cape Cod in general as an artist for so many reasons.

Like most artists I know, I paint pretty much the same way most of the time. I realize you’re not going to learn much more about painting watercolors if I just show you how I paint in general. I think it will be helpful if you see a few paintings painted from a few steps back. I want to talk about future lessons at the end of this article but for now I’d like to say I’m getting good suggestions from you folks that are e-mailing me with your requests.

For Art Lesson Two, I’ve used the following Colors:

  • Phthalo Blue (for the sky) -S
  • Cadmium Red (the roof of the house) – W
  • Charcoal Gray (Shading for the painting) – S
  • Payne’s Gray (lighthouse cupola) – S
  • Vandyke Brown (chimney on the house) – S
  • Raw Umber (Sand and ground in the landscape) – S
  • Olive Green (Grass’s and Trees) – W
  • Sap Green (Plants and Grass’s) – S
  • Hooker’s Green (Trim work on the house) – custom mixed using Phthalo Blue and Olive Green - S
  • Colorless Masking Fluid

Brushes Used:

  • #12 Round Red Sable
  • #2 Round Red Sable
  • 1/4 inch Rake Nylon
  • 3/4 inch Rake Nylon
  • 3/0 Round Red Sable



The first thing we need to do is mount the paper using Arches Hot Press #300 pound Paper. I size the paper by brushing on a generous amount of warm water and letting the paper dry.





The paper will warp as it absorbs water but flattens out and gets taunt as it dries. When the paper is flat and taunt and feels dry you can begin to draw your sketch, adding detail as you go. I like to rough in the landscape at this time so I can sketch in the detail, adding depth to the drawing.



Here you see the drawing taking shape as I start to add shading where needed. You need to visualize where the light source, in this case the sun is overhead, so the shadows fall the right way.





Here we see the sketch is done and the shadows are where I want them. This is the time to add any details like wood textures on the siding of the house.





The next step is to use the masking fluid on the house, lighthouse and background. Masking fluid covers the paper preventing paint pigments from penetrating where it’s not wanted. This is done so I can use my brush freely to get the sky the way I want it. By that I mean for example, if I’m using a wash for the sky you can’t stop or run out of paint or it will show the disruption in flow. You need to be able to paint over the house, lighthouse or anything else to get that sky right.



The masking fluid is seen here in the darker areas, this gives you an idea how I use masking fluid in this painting.







Here you can see the sky wash over the masking fluid. Remove the masking fluid and you’re ready to start painting. I work from the top down most of the time so I started work on the roof and copula.





At first I’m not trying to put any detail into the roof, I’m just getting shades and highlights down. In the cupola I’m working the shades of Payne’s Gray into the many shades and highlights from the sun that would reflect off the rounded metal of the cupola.





Now I put in some shadows and highlight and details into the roof giving it dimension and visual interest. The windows are painted, adding even more interest to the painting.





Here I’ve added the shadows to the front and side of the house, as well as adding details and shadows to the siding. Windowsills and the front door are done at this point. You should see the painting coming together by now or you’re in trouble.





I completed the front porch and the foundation of the house and added shadows under the porch. Moving on to the lighthouse, I add shadows and details, keeping in mind where the sun is in the painting.





After painting in the window and doorway on the lighthouse, I finish up any details I need to before moving on to the landscape and background. I’ve put down my first wash of Raw Umber and need to let it dry, or colors I add next will run together!



Here is the finished painting and you can see I’ve added trees in the background and the sand to the foreground. I worked the grass into the painting as needed for overall visual balance. I want the viewers’ eye to wonder around the painting but not let the viewers’ eye exit the painting as a detail trails off the edge. I like the simplicity of the composition and color balance in this painting. I used bright colors in the house for an emotional reaction instead of using a compacted composition to hold the viewers attention.



I hope you’ve enjoyed the lesson as much as I did painting it. I will be bringing you more lessons soon, so check back from time to time. As I mentioned I have been getting feedback and I’ll be showing you lessons on how to paint trees and flowers, and the textures of wood, metal and stone.

My virtual students have asked about painting fog, lightning, and other weather phenomena. I’ve got a few ideas myself but if you have an idea for something you’re interested in or if you’ve got any questions, then let me know by using the Contact Form. I try to keep up with your questions and I’ll respond to you as quickly as I can.

Until next time I wish you well.

Artist Lee M Buchanan

Be sure to visit Art Lesson One: The Dunes and Light at Cape Lookout.

Return to the Art Studio Classroom or HOME.


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