Watercolour Texture Guide – Painting Rusty Metal: The Tool Shed | Tracey Bengeyfield

Stage One: Tools

Get your image down whichever way you’d like, then we’ll make a start on painting the tools. We will be using a similar technique for all of them, so feel free to start with whichever one you like.

Wooden Handles and Shafts

Start by adding a base colour to all the wooden sections of the tools. Mix Raw Umber with a touch of Burnt Umber and apply this onto dry paper to the handle of the short shovel (No.3). Add a touch of Payne’s Grey to the mix and use this colour for the remaining tools. Note: this includes the top of the short fork (No.8) and the handle on the Auger (No.9), which I later noticed were also wooden! More detail will be added once dry.

Rusty Metalwork

• Next, we’ll apply colour to the metal parts of the tools. Most of these are quite old, so they have a deep brown rusty surface. Again, start with any of the tools – but look closely at the different hues – some may be darker, greyer or even more red in appearance.

Link Chain Tool (No.4)

For this curved, iron tool mix a mid Sepia and apply it to dry paper. While wet, drop in dark Sepia. Soften the edge with a damp brush if there are hard edges, then sprinkle with a little salt. Continue to use the same technique as you add colour to the rings. Feel free to drop in areas of Burnt Umber or Burnt Sienna. Complete the rings so you aren’t working next to one that is wet, as this will help to keep the shapes separate. Lastly, mix a dark Sepia and apply this to the second prong that sits behind/next to the shovel. For most of the remaining tools, the techniques will be similar. Feel free to alter the base colours of the rusty metal areas if needed, and to change the colours of the rust speckles.

Tip

• Work into each half of the ring, one at a time and don’t forget to sprinkle in the salt each time you add colour.

Drainage Spade (No.2)

Mix pale/mid Payne’s Grey and a separate mix of Sepia with a little Quinacridone Lilac. Start by applying the Payne’s Grey onto dry paper to just the curved edge. While the paint remains wet, use the Liner Writer to dot on the Sepia and Quinacridone Lilac mix. Make sure the dots join in places, so it doesn’t appear spotty! While wet, sprinkle on a little salt. Use the same technique into the handle – don’t forget the salt. Return to the head to complete the inside and the collar/socket using the same technique, and sprinkle with salt. Drop dark Sepia right along the edge of the curve to create the illusion of form.

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