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Beginner lesson · Value study and color painting

Cazenovia Chickens: two separate paintings, one clear plan.

First, I painted a small Payne’s Gray value study. Then I set it aside and began a separate full-color watercolor on a new sheet of paper.

Painting onePayne’s Gray value studyA separate planning painting used to simplify the light, middle, and dark shapes.

Painting twoFull-color watercolorA new painting on a different sheet, guided by what I learned in the value study.

The Payne’s Gray study did not become the color painting. It’s like practicing the painting twice—first in values, then in color.

Painted from a reference photograph taken by artist Meg Harris of the Cazenovia Watercolor Society during a group outing. Artist Eric Shute appears seated on a stool in the background.

Painting one · Separate sheet

The Payne’s Gray value study.

This is the first of two separate paintings. I used this small monochrome study to simplify the photograph, decide what belonged together, and test whether the scene would read. When it was finished, I set it aside—it was never painted over with color. Making the study lets me practice the painting once before I begin it again in color.

Reference photograph taken by artist Meg Harris of the Cazenovia Watercolor Society during a group outing.

Patty's Cazenovia chicken reference photograph beside the lightly drawn Payne's Gray value study on her work table
Painting one: Payne’s Gray value study · Step 01 · Reference photograph taken by artist Meg Harris

Value study 01

Look for the pattern—not every chicken.

I keep the reference beside me, but I am not trying to copy every feather or blade of grass. The light drawing gives me the placement of Eric, the chickens, the cars, and the main horizon. Then I begin looking for the larger light and dark families.

What to watch for
  • A simple drawing that establishes placement
  • The chickens treated as larger light shapes
  • Small background details postponed—or ignored
Close view of Patty's Payne's Gray value study with a pale connected wash surrounding the saved light shapes of the chickens and seated figure
Painting one: Payne’s Gray value study · Step 02 · The first connected wash

Value study 02

Place one pale, connected value.

For a value study, I do not wet the entire sheet first. I place a pale Payne’s Gray wash into the broad shapes I want to connect, moving through the background and ground while saving the important lights. The pencil drawing remains visible, and the strongest darks can wait.

What to watch for
  • One broad value joining much of the scene
  • White paper preserved on the chickens and key highlights
  • No attempt to finish separate objects one at a time

Painting two · New sheet

The full-color watercolor.

After completing the Payne’s Gray study, I started again on a fresh sheet of watercolor paper. This is a different painting. I used the value study as a map for the large light, middle, and dark families, while allowing color and edges to develop freely.

New paper. New painting. The same value plan underneath the decisions.
The first pale watercolor wash of the Cazenovia chicken scene, with the pencil drawing still visible
Painting two: full-color watercolor · Stage 01

Color painting · Step 01

Lay in one connected first wash

I let pale blues, greens, and warm notes flow across the paper while keeping the drawing visible. At this stage I was establishing atmosphere and the largest connected color families—not finishing chickens one at a time.

What to watch for
  • A broad wash joining the sky, trees, and ground
  • White paper saved on the chickens
  • Eric, his stool, and the cars left lightly drawn
The middle stage of the Cazenovia chicken watercolor with stronger foliage, ground shapes, and cast shadows
Painting two: full-color watercolor · Stage 02

Color painting · Step 02

Build the middle-value structure

I strengthened the tree mass, ground plane, chickens, and long cast shadows as broad value shapes. The scene begins to read because the middle values connect the separate subjects.

What to watch for
  • Foliage darkened into larger shapes
  • Ground and cast shadows joined together
  • Warm accents used sparingly in the combs and earth
The finished Cazenovia Chickens watercolor with connected darks, preserved whites, and red comb accents
Painting two: full-color watercolor · Stage 03

Color painting · Step 03

Connect the final darks—and stop

I placed the deepest accents beneath the chickens, around Eric and his stool, and within the tree line. A few red combs and selected edges bring the scene to life without describing everything.

What to watch for
  • Strong dark accents anchoring the chickens
  • The seated figure clarified with shape and value
  • White paper preserved and details kept near the focal area

The big idea

Each stage has one job.

My reminder

“The first wash creates unity. The middle values build the painting. The final darks should clarify—not decorate.”

I keep the painting simple so it reads clearly from a distance.

Keep it simple

What I deliberately left out.

01Individual feathers on every chicken

02Every leaf and branch in the background

03Facial detail on Eric

04Unnecessary details on the cars

Your turn

Make the plan—then start fresh.

Choose a busy scene. Make a separate monochrome value study first, set it beside you, and begin the color painting on a new sheet.

  1. 01
    Paint a separate value study

    Use one neutral color to plan the large light, middle, and dark families.

  2. 02
    Start the color painting on new paper

    Set the value study beside you as a guide. Do not paint color over it.

  3. 03
    Follow the value plan—not every mark

    Carry the large value relationships into color, then stop when the idea reads.

Keep it simple

One wash to unite it.
A few darks to make it read.

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