Page 28 - Australian_How_To_Paint

DEMONSTRA TION

STEP FOUR AND FIVE STEP SIX

rules are made to be broken. I used the ‘mother colours’ with TW, the paints liberally to give as much
Strategic placement of distant PM and YO. The paddocks were TW texture as possible. After the CB and
trees leads the viewer’s eye into the and YO. I used bigger brush strokes IR ‘mother colour’ was applied to
painting. The fence line and dirt as I moved forward. The large areas the trunk and limbs, I used mixtures
track also help to achieve this. of plain colour (shadows) acted as of all the colours in the palette. I
a ‘rest’ from the busier areas. highlighted with TW and CY.
Short vertical strokes in the paddocks
STEP TWO STEP FIVE
gave the impression of grass. After
For the sky, I remembered to work Thus far, the repetition of several applying most of the colour with a
upwards – increasing the strength of colours had been deliberate in order palette knife, I brushed lightly over
the colours as I proceeded. The sky to achieve harmony of colour. I had the textured surface with a 3cm brush.
determines the colours of the landscape avoided using any greens by focusing I added detail to other elements,
elements (especially water). I applied a on the distant blue-greys of the faraway refining them. I remembered to
mixture of TW, YO and PM above the hills. I could not fully appreciate (or anchor items to their shadows.
distant ranges to approximately halfway correct) any stage until the next stage
up the sky. Another band of TW and CB had been completed … therefore the
FINAL STEP
was brought down from the top of the sky could not be fully appreciated
board, and the two bands were blended. until the mountain ranges were To criticise and evaluate my paintings,
The lower band ‘bleeding’ through the completed and ‘played off’ against it. I like to frame them while they are
bluish band suggested the luminosity The middle distance is vital as it still wet and stand them near the
and warmth of the Australian sky. ‘ties in’ the strong foreground colours television. An occasional quick
with the subtle background colours. glance will reveal areas of weakness
Stronger tones of YO and PM brought or objects which can be improved.
STEP THREE
the paddocks forward. The foliage of the Alterations often take only a few
For the mountain ranges, I worked gum trees was achieved with CB, IR and seconds, with a brush or a finger.
from the most distant and painted YO (in the shadows) and YO with CY Criticism (especially constructive
forward. The different ranges were (in the sunlight). In adding highlights I criticism) is invaluable. Self-criticism
blocked in using the darkest colour remembered that the light source was is the most difficult. If you feel totally
present in each (TW, CB and PM). In coming from the top left-hand corner. satisfied, this could stunt further
painting the closer ranges I increased I anchored the trees with horizontal development; but if you are over-
the colours to strengthen the tone; and shadows. The trunks and limbs of the critical you might never pick up a brush
I added IR for the front foothills. trees were done with CB and IR; with again. Personally I use two criteria to
highlights of CY and TW. I used stronger judge my work: Can I walk into the
colours in the second dominant tree. painting? Can I walk behind the trees?
STEP FOUR
What I am trying to say is: “Does
With the ‘mother colours’ in place it the painting have perspective
STEP SIX
was time to add the highlights of the (distance) and atmosphere (light)?
trees in sunshine and any paddocks. I used my oil paints to the best Best of luck with your
On each of the ranges, for the foliage, advantage for the main tree. I applied own artistic efforts. O
28 Australian How to Paint