![]() I then spend time working on the grass in the foreground building up the texture and details. I add further details into the pine trees and I am using lighter tones with each pass. I will be saving my lightest values un til the end of the painting. As I build up the details in the trees, grass and sky I had lighter layers of paint. I have kept all of my colours a little one the darker side so I have plenty of room to add lighter colours and tones as I work through the painting. I have found the 3/8” and 1/4” dagger brushes to be very useful for painting tree foliage as you can get a variety of marks that communicate dense tree foliages and pine needles. My brushes begin to get small as I start getting into details. I work on the trees in the background as well as the main stand of trees in the foreground. I am essentially using the same general colour combinations that I was using during the blocking in stage. Once the painting is dry I can begin adding details. The blocking in stage should serve as a solid foundation for the painting. I also make sure that the colours and values are working and that an atmospheric depth is being created in the painting.Īt this stage of the painting I ask myself if everything is working so far and if I am happy I will let the painting dry so I can proceed to the next stage which is modelling and adding details. When I complete the blocking-in stage of the painting I want to make sure that the tonal dynamic is working in the painting. I can increase the saturation by mixing in a little phthalo green. I then make the value lighter by adding titanium white. I mix the green of the grass with a combination of ultramarine blue, cadmium yellow, a little cadmium orange and a tiny amount of quinacridone crimson. Trees are often some of the darkest values in the landscape whereas grass is much lighter. The green of the grass in the foreground is light in value and lighter than the pine trees. I can also vary the hue by adding in a little burnt sienna. I round off the colour with cadmium orange and quinacridone crimson. I then increase the saturation by adding cadmium yellow to the mix which also makes the value lighter. To mix this green I start with yellow oxide and ultramarine blue. The pine trees in the foreground are darker in value and more saturated. ![]() I then round off the mixture with quinacridone crimson to add a red element in the mix. To do this I mix ultramarine blue with yellow oxide to start with and then some titanium white. In general greens can be desaturated by adding a colour opposite and / or using low chroma colours. The green in the distant hills is desaturated so I need to mix a low chroma green otherwise it won’t recede in the painting. I paint the shadows areas in the fields and distant hills. I mixed this with a combination of ultramarine blue, yellow oxide and burnt sienna. The shadows in the group of trees in the foreground are the darkest value in the painting. The colour for the mid ground trees which are also in shadow was mixed with a combination of ultramarine blue, yellow oxide, burnt sienna, quinacridone crimson and titanium white. ![]() I use the same colour mixture for the trees on the distant hills but I darken the value by using less titanium white in my mix. For this I mix a combination of ultramarine blue, burnt sienna which takes out some of the saturation in the blue, quinacridone crimson which adds a violet tint and then I lighten the value with titanium white. I begin painting the lightest of my shadows first which are in the clouds. By doing this it’ll be much easier to achieve atmospheric perspective in the painting and get the saturation of my colours correct. Once I have sketched out my composition I begin blocking-in the painting and I start by painting all of my shadows and dark values first. I am using Liquin as a medium to thin the paint, it also has the advantage of speeding up the drying time. I sketch out the composition using a No.2 round brush with burnt sienna mixed with Liquin Original (Liquin). ![]() The burnt sienna adds vibrancy to the painting. I am painting on a 16” x 20” Belgian linen stretcher that I toned with a layer of burnt sienna. Here is a list of the brushes I used in this painting: I painted this artwork using oil paint and the colours I used in this painting are as follows: Centred objects form a displeasing static within a composition and should be avoided. I have made sure that the trees are of different shapes and sizes as well as making sure they are not in the centre of the composition. This landscape painting features a ‘group mass’ composition where the stand of trees is the main focal area of the painting.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |