I also use these same colours for the grass and vegetation in the foreground. I paint the shadows in the willow trees using a mix of yellow ochre, ultramarine blue and burnt sienna. I have used a little more cadmium yellow and titanium white for the willow trees in the mix. I paint the foliage in the full sunlight on the Lombardy poplar and willow trees using a mix of yellow ochre, cadmium yellow, cadmium orange and titanium white. The sky is a mix of ultramarine blue and titanium white.Īrt Tip: Skies and clouds are often some of the lightest values to be found in the landscape. I painted the cloud highlights with titanium white and a little burnt sienna. Now that the main areas of shadows have been established, I work back in the scene, starting with the zone that is furthest away, the sky and clouds. The shadows in the vegetation in the foreground are a mix of ultramarine blue, yellow ochre and burnt sienna. As yellow is a light-value colour, the clouds in the tree canopies are also likely to be lighter in weight than if the foliage was still green. I mix yellow ochre, alizarin crimson and ultramarine blue to paint the shadows in the tree foliage of the Lombardy poplar. I use the same colours for the cloud shadows but with more titanium white. I painted the background mountain using a mix of ultramarine blue, burnt sienna, alizarin crimson and titanium white. It also makes it easier to add the areas in light and to get the saturation of your colours correct once you have painted your dark values. Value refers to how light or dark a subject is, and by painting in the dark values, it is much easier to create atmospheric perspective in your painting. Whenever I start a painting, I identify where the dark values and shadows are first in my painting scene. I am using Liquin as a medium to thin the paint, which also speeds up the drying time. I sketched the composition using a No.1 round brush with burnt sienna mixed with Liquin Original (Liquin). These panels are perfect for creating small artworks and studies and are also great for painting en plein air. The panel is pre-made with a medium weave linen that is oil primed. I am painting on an 8” x 10” linen panel. No.0 round Painting Demonstration Sketching the Composition on the Canvas.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:
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