Page 36 - Australian_How_To_Paint

DEMONSTRA TION

STEP THREE
At this stage I mixed some Naples
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so I could have slight tonal variations
of the blend in separate sections on
my palette. I then sprayed water
onto the sky and started blending
STEP FOUR WKH <HOORZ :KLWH PL[ LQWR WKH %OXH
EDFNJURXQG , WKHQ PL[HG VRPH 2OLYH
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to produce the shadows in the
ARTIST’S HINTS AND TIPS background trees. I lightened some
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‡ , DOZD\V EX\ TXDOLW\ FDQYDVVHV to enhance those little miracles <HOORZ 2FKUH WR VKRZ KLJKOLJKW DUHDV
They cost a bit more but are the more muddy they become. the rising sun would be touching.
well worth it in the end. ‡ , OLNH WR SDLQW P\ EDFNJURXQGV I used a lighter mix of these two
‡ ,QVWHDG RI XVLQJ D WUDGLWLRQDO not wearing my glasses as colours with Titanium White to
palette for my painting with it tends to give them a more suggest a tree line in the distance.
$WHOLHU ,QWHUDFWLYH 3DLQWV , KDYH impressionistic feel. When I
purchased a large 30cm square wear my glasses I tend to want
'pFRU SODVWLF SL]]D FRQWDLQHU to put too much detail into STEP FOUR
The lid is airtight and I can keep every part of the painting. If 0L[LQJ 3DFLILF %OXH DQG 3D\QHV
my ‘palette’ of paint fresh for \RX KDYH SHUIHFW H\HV WKHQ *UH\ , SDLQWHG LQ WKH VKDGRZ DUHDV
weeks. All I do when the lid is try painting the backgrounds around the shed and touched some
RII LV ZKLOH SDLQWLQJ LV VSUD\ ZLWK \RXU H\HV VTXLQWHG \RX of the mix into the trees in the
a fine mist of water over the PD\ EH DPD]HG DW WKH GUHDP\ EDFNJURXQG , WKHQ PL[HG VRPH %XUQW
palette to keep the paint from appearance of the background 6LHQQD DQG %XUQW 8PEHU WRJHWKHU
curing. When I finish the day’s when you step back for a look. to add the shadows on the trees. I
ZRUN , VSUD\ DOO WKH SDLQWV LQ ‡ /LYLQJ LQ WKH RXWEDFN PDNHV D ORW will add the lighter colours onto
the plastic container with water RI WKLQJV D ELW GLIILFXOW EXW RQH most areas later. I then painted in the
before putting the lid on it. thing I always use is rainwater foreground undercoat using a mix of
‡ 'RQ·W EH DIUDLG RI SXWWLQJ when I paint watercolours and 3DFLILF %OXH 1DSOHV <HOORZ 5HGGLVK
down a colour with Atelier acrylics. I find on a very small <HOORZ 2FKUH DQG 7LWDQLXP :KLWH
Interactive Acrylics as you can scale that rainwater tends to I filled in the mid-ground hills and
HDVLO\ UHPRYH LW RYHU SDLQW LW RU mix the paints better. The water silo behind the shed at this stage.
re-blend all by using water and coming out of our taps in Daly
their large arsenal of mediums. :DWHUV 17 LV KLJKO\ FDOFLILHG
‡ %HIRUH , SXW P\ EUXVK RQWR and who knows what comes STEP FIVE
my canvas I test my colours out of tap in cities where the The shed was continued using a mix of
on a sheet of trimmed Archers water travels tens of kilometres 3DFLILF %OXH ZLWK WKH UXVW VWDLQV EHLQJ
360gsm watercolour paper WR JHW WR \RXU JODVV %\ WKH made by ‘flicking’ a Taklon ¼ inch
or I use a very cheap canvas ZD\ LW DOVR WDVWHV EHWWHU IODW EULVWOH EUXVK ZLWK %XUQW 6LHQQD
IURP WKRVH VW\OH VKRSV ‡ 7KH EHVW DGYLFH RI DOO LV paint in a downward motion under
6RPHWLPHV WKDW WHVW FDQYDV ´'RQ·W EH DIUDLGµ *LYH HYHU\ and around the windows of the shed. I
will have a painting hiding genre of art a nudge and when further highlighted the shed by leaving
amongst your test splotches. LW VWDUWV WR VXUUHQGHU WKHQ window frames white and adding
‡ :KHQ \RX SXW IUHVK SDLQW RQWR push it some more. Art is a PRUH 3D\QHV *UH\ WR 3DFLILF %OXH WR
your canvas and unintentionally constant state of change and finish off the shadows on the shed.
it highlights an area exactly the what makes it so exciting is
ZD\ \RX OLNH WKHQ GR QRW RYHUGR that there are no rules…so
your painting. Keep those areas H[SORUH LPDJLQH DQG GRQ·W EH STEP SIX
fresh because the more you try afraid where it may take you! I finished painting in the rider and
added cows to the background. At
36 Australian How to Paint