Start with these reference images:
Using a wet into wet technique, apply clean water over entire page. Starting with our lightest of values, apply Cerulean Blue and Winsor Yellow on the background area. Start to drop in the local colors of the pears. The shadow color is Cerulean Blue, foreground color is a very light background color. Lift out highlights on pears with thirsty brush. Clean up any edges on the pears on the table side also. Let dry.
Our values will now be more middle values, more pigments, less water. Indicate the background with Cobalt Blue and Winsor Yellow. Add a little Burnt Sienna as you go across the page, more Burnt Sienna and Cobalt Blue on the right side of the page. Try not mixing the colors. Continue to show the local hues on the pears, lifting out the highlight. Light source on the right side of the fruit. Let dry.
Starting at the top of the page using darker values, same pigments, repeat the same wash. While the pigment is still wet, use a credit card and scratch out some foliage shapes. Add some salt for texture. Scratch out the stems also. Use sharp edges when defining the fruits. Let dry. Go back into the fruit with your darker values and shadows. On the table top show a cast shadow with cobalt blue with a little Burnt Sienna.
Wet the entire paper with clean water, starting in the middle of the paper using Aureolin pigment with horizontal strokes. As you go up the page introduce Winsor Red. Below the horizon line or middle of the paper use Windor Red going down to the bottom of the paper. Using a thirsty brush pick up some color in the sky area. Let dry.
Using clean water brush the Aureolin area only, then apply Winsor Red, Winsor Yellow, Gamboge and Alizarin Crimson. Repeat these same colors in the foreground areas with the addition of Ultramarine Blue. Look at your value study to see where these values go. Let dry.
The last wash will consist again of the same colors, more pigment less water and trying to get as close to the values on the value study as possible. Put in far horizon line with Alizarin Crimson, Gamboge, Ultramarine Blue. For the rock shapes we will use Alizarin Crimson and Ultramarine Blue with a little Winsor Green. Carry this color out into the composition where the value study is very dark and soften the edges. Use a thirsty brush in the foreground area.
Start at the top of the page with a combination of the following colors: Cerulean Blue, Cobalt Blue, Winsor Yellow and Burnt Sienna, just putting the colors down and letting them mix on the paper. As you come upon the flowers start using the local hues to shape in the flower. Use Burnt Sienna for the middle of the flowers. Alizarin Crimson and Cobalt Blue are used in the vase. Afer the shine is gone on the paper, use a credit card (the side of the card) to scratch out some petals and stem and foliage areas. Let dry.
Going in now with the middle values, using Gambage to develop some of the petals, Winsor Yellow and Winsor Red are also used. Ultramarine Blue and Burnt Sienna are used in the middle of the flowers. Darken the side of the vase with the same colors used above. Develop some foliage areas around the flowers. Let dry.
Our final wash will consist of values that are the darkest on the value scale. Using Burnt Sienna, Winsor Green and Alizarin Crimson, indicate some texture on the centers of the sunflowers. Using the same dark indicate some dark shapes around the sunflowers, using the value sparingly, painting negatively around some of the petals. I put clean water on the vase and overlaid the same colors but tried to smooth out the values. The colors around the sunflowers consist of Alizarin Crimson and Gamboge.
Start at the top of the page with a combination of Cerulean Blue and Cobalt Blue for the sky area. Using the same blues add Winsor Yellow and make some tree shapes, sculpt out around the buildings, leaving the white of the paper. As you go down the page introduce Winsor Yellow and Winsor Red to make an array of oranges, adding Alizarin Crimson at the bottom. The water consists of Cerulean Blue and Cobalt Blue, using more pigment at the bottom of the page. Let dry.
Now using your middle values repeat the same steps as above, but use more pigments and less water to get a darker value. You are going to start giving the colors shapes, with negative painting (painting behinds the shapes). Indicate the dock area with Burnt Sienna and Ultramarine Blue. Use the side of a credit card to scratch out the posts and tires on the dock. Using Cobalt Blue and Ultramarine Blue indicate some line work in the water with smaller shapes further back and larger shapes as you come forward. Let dry.
Now using our darker values go in and define a couple of shapes in the foliage area. Using Burnt Sienna and Ultramarine Blue paint the roofs on the buildings, adding windows. Cobalt Blue is used on the boat house, painting around the white shapes. Then add Burnt Sienna and Ultramarine Blue for the window areas. I soften the edges of the water by using a large flat brush with clean water and going over the entire area a couple of times.
Using some masking fluid indicate your birch trees. Indicate the local colors starting with the background foliage area, changing the colors as you go. Below the halfway mark on your paper start to show the river with blue hues. Let dry.
Go in now with middle values and start to build up the foliage shapes, keeping the yellow clean in top of the river. Show rocks by dropping burnt sienna and ultramarine blue in that area and then taking a credit card and scratching the surface. Show an island in the middle of the river with some foliage colors. Drop in some red hues to show more contrast in your colors. Using a credit card scratch out some birch trees. Let dry.
Now using our darkest values show a shadow side on the foliage, usually under the branches. Negatively paint around some of the rocks. Add a darker value blue hue on one side of the river and soften the edges. Scratch in some grasses in the middle island. I added some Gouache to my birch trees to stand out some more, or in the first step you can also use a masking fluid to save the whites. Let dry.
Starting at the background indicate a sky color and then start showing the foliage areas, changing the color as you go. Indicate the shape of the path by leaving the white of the paper. As you proceed show the foreground foliage. Also drop in a light shadow color on the path - by mixing the three primaries you will get a nice gray. Let dry.
Now using the same color palette as above we will proceed using our middle values on the value scale. Start to show some forms in the foliage and shapes, keeping the value darker than what you already have on the paper, trying not to cover up all of our first wash. Keep the edges of the path soft. Let dry.
Now use our dark values to show foreground trees, letting the previous colors show through. Show a darker value shadow on the path. The shadows from the trees should be connected to the shadows on the ground.
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