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    Watercolor Paiting

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    Watercolor Landscapes Step by Step

    Загружено:

    Gryphon007197
    Watercolor Paiting

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    © All Rights Reserved
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    из 58
    WATERCOLOR LANDSCAPES 3H ae CONTENTS Introduction 4 Colors 5 Equipment 6 Mountains in Flat Washes & Labein Graded Washes 10) Rocks in Drvbrush Technique _12 Mist Painted Wetin-Wet 14 Gettin i 16 Sky and Tree Colors 1 Land Colors 18 Colors of Water __19 Demonstration | Deciduous Trees __20 [Demonstration 2. Evergreens 24 Demonstration Wis 33 Demonstration 4, Like 32 Demonstration $. Snowand loc 36 Demonstration é. Clouds 40 Demonstration 7, Sunset 44 Selecting Landscape Subjects 4 Composing Landscapes 50 Lighting in Landscapes 52 Light Changes Landscapes $4 Acrial Perspective 55 Expressive Brushwo Rock Forms 58 Tree Forms 60 Cloud Forms 62 Three-Value system 64 56 Landscapes in Watercolor. Waiercotorists paint more landscapes than any other subject. The trans- parency of watercolor makes the medium ideal for capturing luminous skies, the flicker of sualight om mass of Keaves, amd the crystalline shadows on a snowbank. The speed of watercolor is also a great ad- vantage in painting euktoor subjects. As the clouds race by, as the sun moves across the #ky and changes the pattern of light and shadow on those trees and ssnowbanks, you can capiure these fleeting effects with a few bold washes and rapid brushstrokes. Speed ‘means spontaneity: those fast, decisive strokes have a unique way of communicating: the excitement of the subject and the artist's joy in painting, ‘Organization. You'll find that this text is organized in three sections First, you'll find a brief review of the ‘basic techniques of pamnting landscapes in watercolor, Then Claude Croney, a noted painter of outdoor sub- jects in watercolor, demonstrates seven complete paintings of popular lundscape subjects, showing you ‘how to put these techniques to work, Finally, there's a section on the special problems of planning and exe~ venting a successful landscape. ‘Wash Techniques. There are several basic ways of applying color to paper, as you may already know: ‘The first section of Watercolor Landscapes Step by Step reviews these tcelniques by showing Ihow they apply specifically to landscape subjects: The simplest method of applying color is a flat wash, and you'll see how to use flat washes to build up the large, solid forms of mountains. Grated washes are just » bit more difficult, and you'tl see how te paint a lake in this technique. Dryfsrush is a particularly good way to suggest textures, so you'll see haw to paint rocks in the drybrush technique, Wetin-wet—sometimes just called the wet-peper tochnique—is an effective way to create forms with soft, blurry edges; you'll see how to Paint a misty landscape by this method. Of course, there's no “law” that mountains shoukd always be ppainvted in flat washes, lakes in graded washes, rocks in the drybrush technique, nnd mist in the wet-paper technique. You're free Lo use these methods according to your own tastes and according to the requirements of the subject. There will certainly be times when you'll want to paint mountains in graded washes, per- haps when the peaks are emerging from mist. Or you may want to usc the drybrush technique to capture the broken light on the ripples of a lake. There are also many possible combinations of these techniques, such as establishing the basic form of a tree in flat ‘washes, and then creating the textures of leaves and fark with drybeush. Landscape Colors. Just before the actual painting demonstrations. you'll see a number of color sketches that will tell you more about the color you're Fikely to see outdoors. You'll see comparative studies of the colors of a clear sky and an overcast sky. You'If earn about the colors of trees, rocks, hills, and meadows, And you'll be able to compare the colors of a lake, a Atream, and a pood filled with intricaie reflections, ‘There are also “life-size” close-ups of sections of var ious paintings by Claude Croney, showing how a pra- fessional watervolorist uses color us interpret the foliage of autumn and spring. the forms of green hills, and the patiems of moving water Painting Demonstrations. The purpose of the seven painting demonstrations is to allow you to study every significant painting operation step-by- siep. Because a watercolor proceeds 50 quickly and ‘decisions must be made without hesitatien, its impor- tant to plan the picture in logical stages In these demonstrations, each stage is captured by the camera, ‘Croney begins with two paintings of green, growing things: deciduous trocs and cvergreces. He then gocs ‘on io paint the large forms of green hill, Water is pac- ticularly tricky to paint. Croney first shows how to paint the surface of a lake, with its complex pattern of ripples, reflections, lights and darks OF course, snow and ice are both forms of water, 50.4 separate demon- ‘tration is devoted to these wintry ubjects, The paint- ing demonstrations conclude with two skies: a blu, nny sky with large, soft-cdiped clouds, and finally ever-popular sunset. ‘Special Problems. The final section begins by ad- vising you how to select an appropriate subject For a landscape painting, which most beginners find par ticulurty difficult. There are also some guiktelines— some dos and some den’ ts—for composing landscape Paintings. You'll see how lighting affects various landscape subjects andl how changes in the li 7 ally change the landscape itself, Youll fear tow 10 exploit the effects of actial perspective w create a sense of deep space in a landscape. “Life-size™ close- ups of Claude Craney’s paintings will show you how Wo Wield the brush expressively. To encourage you to study the veried forms of the natural landscape, there are studies of different kinds of rock, tree, and cloud forms. Finally, you'll learn the ““three-value system,” 2 very simple, lime-tested method of designing a suc ‘cessful landscape. Tubes and Pans. Watercolors are normally sold in collapsible metal tubes about as long as your thumb, ‘amd i metal or plastic pans about the size of the first Joint of your thumb, The tube color is 2 moist paste that you squeeze out oni the surface of your paletie. ‘The culos in the pian is dry to the touch, but disselves as soon as you touch it wich a wet brush, The pans, which lock neatly into a small metal box made to fit them, are convenient for ropid painting on location. But the pans are useful mainly for small pictures—no more than twice the size of this pags—because the dry [paint ic the pans is best for mixing small quantities of ‘solot. The tubes are more versie and mote poplar ‘The moist color ia the tubes. will quickly yield sill washes for small piciuces and big washes for big pic- tures. If you must choose between tubes end puns, buy ‘the tubes. Later, if you want a special kit far painting small pictures outdoors, buy the pans. ‘Color Selection. Ail the pictures in this book were painted with just eleven tube colors. True, the colors ‘of nature are infinite, but most professianal sater- ‘colorists find that they can cope with the colors of na- ‘ure with adozen tube colors—or even less, Once you lea to mix the various colars on your palette, you'Tl be astonished at the range of colors you can produce Six of these ¢leven colors are primaries—two blues, reds, two yellows—which means colors that you can’t create by micing to primaries, Just two are sec ondaries—orange and green—which means colors that you can create by mixing other colors, You can mix‘ rich variety of greens by combining various blues and yellows. plus many different oranges by combining reds and yellows. So you could really d without the secondaries, But it dees save time to have them, The last three colors on your palette are what painters call neutrals: two shades of brown and gray: Blues. Ukramarine is a dark, vot blue that produces a-tich variety of greens when blended with the yel lows, and a wide range of grays. browns, and brown. grays when mixed with the neutrals. Cerulean blue is 3 light, bright Blue that is popular for skies and at. mospheric effects. AL sme point in the fulure. you migh like to try substituting phihalocyanine blue for cerulean; phthalocyanine is more beilliant, but must be used in small quantities because it tends to dominate any mixture. Reda, Alizarin crimson is a bright red with a hint of purple; it produces lovely oranges when mixed with the yellows, subtle violets when mixed with the blues. and rich darks wher mixed with green, Cadmium red light is a darcling red with a bint of orange, producing rich oranges when mixed with the yellows, cmppery tones when mixed with the browns, ond surprising darks (not violets) when mixed with the biues: Yellows. Cadmium yellow Fight is bright and sunny, producing luminous oranges when mixed with the reds, and nich greens when mixed with the blues. Yellow ochre is a much more subdued, tarnish yellow hat peoduces subtle greens when mixed with the blues, and muted oranges when mixed with the reds. ‘You'll find that both cadmiumns tend to dominate mix- tures, sa, ack thes Orange. Cadmium orange is.a color you really could ‘create by mixing cadmium yellow light and cadmium red light, But is a beautiful, sunny orange and con- ‘venient to have ready-made. Green. Hooker's green is optional—you can mix lots of greens—but convemient, like codmium orange. Just don’t becente dependeat on this one grec. Learn how many other greens you can mix by sombining your ‘Various bluts and yellows. And sée how many other greens you can make by modifying Hooker's green ‘with the ather ealors on your palette Browns. Burnt uber is a dark, subdued brown that produces lovely brown-grays and bluc-grays whew ‘ended with the blucs, subtle foliage colons when mixed with green, and warm aulumn colors when mined with reds, yellows, and oranges. Hurt sicsiaa is a bright. orange-brown that produces a very differ- ent range of blue-srays and brown-grays when mixed with the blues. plus rich coppery tones when blended with reds and yellows. Gray. Payne's gray has 3 distinctly bluishtone, which makes it popalar for painting skies, slowds, and at- mospherie effects No Black, No White. You mioy be surprised to dise cover that this color list contains po black or white. Gace you Degin to experiment with color mixing, you'll find that you don't really need black. You can mix much more interesting darks—containing a fas- inating hint of color—by blending such colors xs blue and brown, red and green, orange and bie, Arc blue- brown mixtures make far more interesting grays than you can create with black. Your sheet of watercolor paper provides the only white you need. You lighten a color mixmure wich water, not with white paint; the white paper shines through the transparent color, ‘rsixing’’ with the color to produce the exact shade you want, Hf some ares is meaat to be pure white, you simply leave the paper bare just a bit at a time: Round Brushes. When wet, a round brush should have a reat bullet shape and come to a sharp point. Here ate ve typical round brushes. The two.at left are expensive sables. ‘The center brush isa less expensive othair, At right are two inexpensive oricatal brushes with bamboo bandles—worth trying if you're on a tight budget. A good substinae for sable is soft white nylon. (Flat Brushes. A good flat brash, when wet, should taper toa squarish shape that curves inward toward the workine vera. Here, from left to right, are alarge auhair, good for big washes: asmall bristle brush like those used for oi pain helpful for scrubbing ow arcas wo be comectods wlaree white nylon brush, a good substinite for the more expensive sable ard a nylon houscpainier’s brush, which you might lie to try for painting or wetting big areas, ‘Transporting Brushes. When you're caying your brushes fom place 40 place, it's importaat to protect the delicate hairs From being squashed in your painthax. You ca ut piece ef candoand that just a bt longer than the longest brush; arrange the brushes carcfully o the board 50 that they doe't squash each other: then strap them down with rubber bands, Far further protectian, you can slip the board into siardy cavelope or wrap tin something exible such as a ctath of bamboo placemat secured with a couple of rubber bands Poneiland Knif@, Tosketch your composition on the wa 1escolor paper, carry a sharp pencil with a Lead that’s not eo ddatk. HB is a good grade, A mechanical pencil with retract ‘able Tead is least apt to break. For cuiting poper and tape. as ‘well a for scratching lines into your painting, a sharp knife is handy. This knife is convenient and safe because it has a retractable blade, which you replace when it gets dull Watercolor Palette. The most versatile type of mater- ‘color palette is made of white molded plastic of lightweight metal coated with tough white ename paint. Along the edges of this white plastic palette are compartments into which you squceze your tube colors. The comer of the pal- sete is a large, flat mixing area. A “lip” prevents the tube ‘colors from runaing out of the conpartments into the central mixing orca. At the end off the painting: scstion, you can simply mop up the mixing ares with a sponge or paper towel, leaving the color in the compartments for the next sesion, Fiberboard and Tacks. A simple way to support your ‘watercolor paper when you're painting is to tack the sheet to a Mf pico of fiberboard. This particular prece of ber bound is 4" (about (6 mm) thick and safl enough to accept thumbiacks (drawing pins) or pashpins, Be sure to cut the board just abit larger than the sizeof your matercoboe paper. Studio Palette. Design! primarily for ose indoors, eis pakene bas cixcular “wells” into which you squeeze your tube colors, plus rectangular compartments for individual inbunares, The comparmstats tant down at one-end 66 ta the mixtures will run dowmnwand and fort poo ito. which you can dip your bresh. Plywood and Tape. Anciher solution is to ape your wax tewolor paper to a sheet of wood—preferably plywood, which will resist warping when it gets wet. The wood will betoohard 10 tke tacks, sis use masking tape that's atleast 1" (25 mm) wide of even wider if you can find it. A sheet of smooth hardboard will also do the job. If available, bay handbaand ar plywood that’s made fur outdoor use: it's mone resistant to moisture MOUNTAINS IN FLAT WASHES 8 Step 1. Mountains area good Blocked in with a series of strokes, slighily overlapping conc another $0 they fie 1 ether at the edges. The tone doesn’t have tobe smooth and even mountains ane craggy. after all, apd the individual strokes can show a bit. MOUNTAINS IN FLAT WASHES: 3 though the Gather tone to supgest a variety of lights and shadows. ‘Step 4. With the light and shadew planes of the moan- tains completed, still darker one is mixed for the trees i the foreground. These are brushed in with quick, irrezu- lar strokes, made by the tip of sa small, round brush. To sug- pest smorw heneath the trees. some pale strokes are add ced about as dark as the wash im Step 1. The whote pictare is painted in four fat tones Step 1. This atmospheric study of a lake begins with a wash that goes from dark to light to duck again, The sky at the top begins with some: dark. sarobes, followed by paler | he strokes that blend with the —<== dark ones aed work down to the midpoint of the sheet. Then these pale strokes begin to fine with dasker strokes once again, coming down to the edge of the lake. k Stop 2. The arc mass below the sky i abo 2 kind of raed wash, saning with ditt soba ot the Iondaon, and then gradually giving ‘way to paler strokes in the wedge of shore at the tefl. Ww Step 3, When the darks of (the trees ane blocked in at the hhorizon, the graded wash is the sky sexklemly creates ‘feeling of glowing light. And whens che dark reflection of the trees fs added just below the distant shove, the graded wash of the Lake gives the im- pression of reflected light on the distant water. the sky and water glow with ght. ROCKS IN DRYBRUSH TECHNIQUE ‘Step 3. The shadow sides of the rocks are darkened with further drybaush strokes. This time. the color on the bust is notionly darker, but a bit wet ter. And the brush is pressed hander against the paper, fore- ing the olor further into the valleys, The slender strokes ‘are made with a round brush, ‘And the shadow in the lower Fight corner is a fluid, flat wah, ‘Step 4. More drybrush tex: tures are added 10 the shadow on the lower right, Thee the tip of a senall, round brash ts ued to strike in slender lines for the cracks and flecks that ‘complete the rocks, (MIST PAINTED WET-IN-WET 14 Step 1. t's usually best to ing with strokes and washes cox airy paper. In this first stage, the catire sheet is brushed with clear water, ‘Then the distant shore, the i land. and the ripples in the water are all painted into this wet surface and allowed we dey. The dak strokes are thicker color, diluted with less water. MIST PAINTED WET-IN-WET Step 3. The foreground is gradually built up with more and more crisp, dark strokes working their way across the misty blue of the take, The eunirast of the sharp focus ‘foreground ana the Dhurry dis- tance is the key to the pic ture—the foreground makes the wet-io-wet istand look more distant and mysterious Step 4, The weeds of the foregroend are completed with long, slender strokes that coat across the blurred. wet-is ‘wel distance, Further accea- (wating the contrast berwern shasp focus and saft focus, At ‘his poi i's possible to re- ‘wet certain aren of the island with clear water and drop in ‘additional dark totiches, which are almost invisible be- cause they blur away into the surrounding darkness. But do this very selectively and with reat care—don't rewel the whole painting. Studio Setup. Whether you work in a special room you've set aside as a studio, or just in a comer of a bedroom of a kitchen, i's important to be methoxdical about setting up your painting equipment. Let's re view the basic equipmem you'll need and let's see how ‘this equipment should he arranged Brushes. Is best to buy just a few brushes —and ‘Duy the best you cam afford, You can perform every significant painting operation with just four softhair ‘brushes, whether they're expensive sable, less costly ‘oxhair or squirrel, soft white nylon, ar some blend of inexpensive animal hairs. All you really need are u big umber 12 round and sinaller number 7 round plus a big 1" (25 mm) flat and a second Mat aboot half that size. Paper. The bes all-purpose watercolor paper is mouldmade 140) pound stock in the cold pressed sur- face (called a “not” surface in Britain) which you ‘ought to buy in the largest available sheets and cut iw halves or quarters. The most common sheet size is 22° x30" (56 cm x 76cm). Later, you may want (o try the same paper i a rough surface, Drawing Boerd. The simplest way te support your paper while you work fs 19 tack or tape the sbkeet to plece of harbored cust just» litle bigger than » full shect of half shect of watercolor paper. You can rest this bound on a tabletop, pethaps propped up by a book af the back edge. so the board slants towand you, You can also rest the board in your lap or even om the Frounl. Ant supply sioncs cay more expensive ‘wooden drawing boards 10 which you tape your paper. At some point, you msy want to invest in a profes sinnal drawing table, with a typ that tilts tw Whatever angle you find convenient. Hut you can easily get by ‘with am inexpensive piece of hardboard, a handful of thumbtacks ce pushpins. asd a roll of masking tape, I” (25 mm) wide to hold down the edges of your paper. Palette or Paintbox. Some professionals ji squeeze out and mix their colory on a white enamel tray-—which you can probably find in a shop that sells kitchen supplies. The palcnic made spevifcully for wa~ tercolar is white metal or plistic, with compartments imo which you squeeze tube colors, plus a mixing sur- face for prxducing quantities of liquid color, For working on location, it's convenient to have a metal watercolor box with compartments for your gear. But a toolbox oF a fishing tackle box—with fois of cani- partments—will do just as well, If you decide to work outdoors with pans of calor, buy an empty metal box equipped iv hoki pons, chen bay the selectinnof colors listed in this book: don't buy a box that comains pans of color preselected by the manufacturer Odds and Enda. You'll eect some singleeelge aro bliskes ora knife wich a retractable blade (for sifeiyh to cw paper. Paper wwels and cleansing fissues ate useful. not only for cleaning up. but for Fifting wet color from a painting in progress. A sponge is excellent for wetting paper, lifting wet color, and cleaning up spills. You'll obviously need a peacil for sketching your composition on the watercolor paper before you paint: buy an MIB drawing pencil in an art supply store or just use an ondinsry office pencil. To ines when the watercolor is dry, get a “putty uber") eraser, so soft that you can shape it Tike clay and erase a pencil fine with. out ubracing the delicate surface of the paper. Find three wide-mowthed glass jary big enough to bokd a quart of 2 liter of water; you'll find out why in a mo Ment. If you're working outdoors, a fokkting stool is a convenience—and insect repellent ix a mast! Work Layout. Lay out your supplies ond equipement in a consistent way, so everything is always in its place whem you reach for it. Directly in front of youis your drawing board sith your paper ticked or taped to it, I you're right-handed. place your palevic and those three widke-mouthed jars tiv the right of the drawing ound. In one jar. stare your brsshes, hair end up; don’tlet them roll around on the table and get squash- ed, Fill the other two jars with clear water. Use one jar of water as a~well” from which you draw water to mix with your colors; use the other for washing your brushes. Keep the sponge in a comer of your paleme ani the puper towels nearhy. ready far emergencies. Line up your cubes of colar some place where you cam get at them quickly—possibly along the other side of ‘your drawing board—when you need to refill your pal- fete, Naturally. you'd reverse these arrangements if you're left-handed. Palette Layout. In the excitement of painting, it's essential to dart your brush at the right color in- stinctively. So establish a fixed location for each color ‘on your palette. There's no one staadand arrangement ‘One good way is 19 ling up your colors in @ row with the coo! colors af one end and the ware cology atthe other. The coal colors woukl he gray, ree blues, and green, followed by the warm yellows, orange, reds. and browns. The main thing isto be consistent, so you can find your colors when you want them. SKY AND TREE COLORS 17 ‘Sunny Sky. On a sunny day, the sky is asaally bluecst at the wp, paler and warmer at the horizon. Here, the deeper blues are a mixture of ultramarine blac and cerulean bie Lower down. the puler, wamner toac is a mixture of cerulean blue, yellow octwe, and alizarin crimion. The shadow sides of the clouds are Payne's gray and yellow ochre. The lighted sides are bare paper. Deciduous Trees. The sunlit pares leaves are arnin- ture of Hooker's green. burnt sienna, and burnt umber, dominated by the green. The shadow arcas are the same mixture, with more burt sienna and burnt umber. The grass isHHooker’s green, cadmium yellow, and burnt sienna, with more groen and brown in the shakows Overcast Sky. An overcast sky isn't always sicely gray. butoften has a warm tone because the sun is tying 1 forse way though the clouds, These clouds, pained on wet (paper, arc a mixture of Payne's gray. yellow ochre, and ‘bamt umber. There are touches of ceruleam blue where the sky appears theeugh the clowds Evergreens. Cn the foreground tees, the lighter areas are Hooker's green, cadmium yellow, and barn sienna, while the darker arvas are Hooker's green, burnt umber, and ub musing blue, The disant wees are a pale mintwe of Hooker's green, burni sienna, and uliramarine blue, The grass is cadmium yellow, Hooker's green, afd cerulean blue, with move bluse in the shadows. Rocks. Avoid the temptstion 10 paint rocks as if they're all gray or brown. They ‘contain many subtle colors. The shadow sides of these rocks are built up with mal- tiple strokes in various combinations of ‘yellow ochre, burnt sienna, burst umber, and cerulean biue. The lighted! sides are hare paper with touches of yellow ochre, burnt sienna, and cerulean blue, The dis- tant mountains, which ane really paler. ‘cooler versions of the nearby rocks, are painted in burnt sienna and cerulean bie. ‘The dried grass in the fiekd contains wari- ous mixtures of yellow ochre, burnt si: enna, ceralean blue, and caine orange. Hills, Hills covered with foliage aren't ¢ uniform green, but contain various warm and cool coloes. The underlying tone of the hills is a mixture of Hooker's green, thramarine bite, and burn ema, wih more bamt sienna to the left and more Hooker's green to the right. The tree strokes are various mixtures of Hooker's ‘green, ultramarine blue, and burnt sicena, The field im the foreground is cadmium yellow, Hooker's green, and bumt si- nna, with more barst sienna to the efi and more Hooker's green to the right Meadow. A meadow can be a rich tapes: try of cool greens and warm yellows, of- 18 COLORS OF WATER 1 Lake. Clear water has no: color of its ‘own. bue simply reflevts the colors. that surround it, This calm lake acts.as a mir- ror for the colori of the sky and the shoreline. The sky is ceralean blue and Yellow cctire, The tres akong the shore fare various combinations. of Hooker's grees. cadmium yellow, bunt sienma, ‘and ltramarine blue, The samme color eombinatiors appear in the water Stream. Although moving water may be interrupied by a broken patiern of lights sand shadows, i's sill a reflecting surface Here, the sky is ceruicam blue and a touch of yellow ochre, reflected in the cool areas of the stream. The rocks ate wlkra- marine bloc, burst wrnber, ad yellow ochne—a combination that is refBected in the warner areas of the stream. The dis- tant trees along the horizon are Hooker's preen. ultramarine blue. and burn: sienna, reflected in the water at upper lef Reflections. tn this close-up, you can sec how the water reflects the colors of the foliage along the shore, the racks, ara the sky. The greens along thie shove ara in the watcr axe Howker’s green, barat sie na and wlramarine bse, The rocks are yellow ochre, bumt sienna, and ultra- marine Hic, with the same combination in their reflections. slightly cooled by Hooker's green. Although you can’t sce the sky, you know that ifs reflected in the blue of the water, which is cerulean tive sand a Little yellow ochre. DEMONSTRATION 1. DECIDUOUS TREES: 20 Step 1. The pencil drawing a clearly defines the individual mamex of foliage and the f trunks of the trees to the Teft r f and indicates the general ie shapes of the trees along the £ hariton, The sky bepins as. a * pale wash of yellow ochre into which pale strokes of ce- \ rulean blue are painted. c ‘Step 2 The distant hills, which you can see clearly to: , the left.are painted withcerm- ean bie ad cadmiom rod. Lf While this tone is still wet, ~ FY the trees are hushed in with < Hooker's grecn and bumt si- enna, blurring into the color of he ils DEMONSTRATION 1. DECIDUOUS TREES 2 ‘Step 3. The field is covered, ‘with a light wash of yellow ‘ochre and Hooker's. green, followed by darker strokes of this mixture, some containing a hint of born sien and oth crs containing just.a bit of ul- tramarine blue. Some of these ? Xt darker strokes go on while the ae : underlying wash is still wet. Others are applied after the saunfice bs dry, Step 4. The lighcr. brightcr areas of the foliage ate brushed im with broad, short, curving strches—in various combinations of cadmiam yellow, yellow ochre, Hook e's green. and ultramarine blue, While these lighter strokes are till wet, the darks are brushed over ard into them, so the darks and lights tend to blur together. The dasks are Hooker's green, tltramarine blue. ark) bat sienna. DEMONSTRATION 1. DECIDUOUS TREES 22 Stop 5. So far, everything bas been done with big brushes. Now, a small, round brush comes into play. The tmunksare pied wih a dark, mixture of Hooker's green and alizarin crimson. The ‘very tip of the brush is used to paint the branches with the same mixture, Ar times, the ‘brush skims very lightly over the surface of the paper 60 that the strokes have a dry- brush feeling. ‘Step 6. More dark notes are andes 10 the tree with a mix ure of Hooker's green and burnt umber. The small brush is used agaia—ofiea held 50 that the side of the brush leaves irregular patches of color on the paper. The same rmiture and the same kind of ‘strokes are used to darkee the sistant mass of trees, which ‘now have a more distinct focl- ing of light and shadow, You can see where a few dark trunks have been soggesied among the distant trees—and at few light trunks have been seraped cut with the tip ofthe ‘brush handle. DEMONSTRATION 1. DECIDUOUS TREES 23 Step 7. The foreground is savet! far the very end. A large brush is freely stroked across the fick!, somctimcs deposit- ing wet strokes and sometimes creating drybrush tecmure. ‘These darks we mittures of burnt sienna ark! Hooker's eee. A small brush is wsed 10 build up small, rough strokes directly beneath the treet, suggesting shadows on the grass. Moce branches are adkle! with the very tip of the small brush carrying a mixture of alizarin crimson ard Hooker's green. A sharp blade scrapes away some flecks of Fight on the thicker teetrunk. The alizarin crimson and Hooker's green mixture is also used for the slender strokes that pick our individual weeds atthe lower edge of the paint- ing. Finally. a small, round brush is dipped in the alizacin erimson-Hooker's roen mixture and flicked at the fore ground, spancring droplcts that you can see mont distinctly in the lower right section. The Foreground contains just ‘enough texture and detail to suggest an intricate tangle of ‘weeds and grasses—but not so mach detail that if becomes sistracting. DEMONSTRATION 2. EVERGREENS 24 Step 1. The pencil drawing defines the main masses. of the trees, but not too pre Cisely—s0 there's plenty of freedom for impulsive brush ‘work later on, The sky begins with a very wet wash of yellow ochre, npplied with a big. flat brush, followed by broad stokes of Payne's gray ied liraatine blue while the underlying wash is still wet, Just before the sky loses Painted into the wetness Hooker's green. Payne ray. und ccrufcan blue, ap plied with a all brush ‘Step 2. When the sky and the datum wees are dey, two more trees are brushed in with a darker mixture of Hooker's cen, Payne's gray, and ce brush is presse! down hard at the center of the tree and then palled quickly away to the side. Ths, the stroke is thick sed dark stone end, bat then ‘apers down to a thinner, more irregular shape ms the brush moves onward. DEMONSTRATION 2. EVERGREENS 25 ‘Step 3. The largest wee fs now painted with a big, round Dash, using the same kind of strokes as in Step 2 The lighter foliage is painted with Fooker’s green, whtramarine blue, and bart weber, thes allowed to dry. The darks are pained with the same mix- Ture, but contain more ultri- marine blue. While the color is still damp, a blunt knife is wed to scrape away some pple lines for the trunk. ‘Stop. The light and shadow planes of the rocks sre both painted with Payne's gray and yellow ochre—with ess water for the shadows. To suggest a few tones on the snow, a small brush glides quickly over the paper with pale sirakes of ultramarine blue and barntumber, Notice how flecks of paper are al. lowed 10 show throagh the shadows of the rocks, sug- esting a rough texture DEMONSTRATION 2. EV! Step 5. The dry grass break- ing through the snow adds some warm notes to enliven a picture that i jenerally cool. The tip of a small, round brush is used to add drybrsh srokes of cadmium orange, burt sienna, and bert um- ber. The same toe appears in the very slender strokes that suggest a few weeds—and ix spattered across the fore ground. These very thin serokes are a good oppor- tunity to use the signpainter's bush called a rigger. Step 6. The picture needs an ditional tree ta add “weight” at the center of in- terest, The tree: is ade with a dark mixture of Hooker's green, ultramarine blue, and burnt ember—wsing the same press-and-pull strokes that worked 40 Well for the ether tives. DEMONSTRATION 2. EVERGREENS ‘Step 7. Here's where you add those final touches that seem invisible at firs plance, but do make a great difference when you look elesely. A stall, round brush is laaded with a dark mixture of alizarin crimson and Hooker's green. The very tip is used to axkd darks sach as the trunks of the central trees, the cracks and additional touches of shsdow on the rocks, and the skeiions of more trees along the horizon. A pale mixture off ultramarine blue aad barnt umber ix added just under the central ree to suggest a shadow that “an- chore” the tree more firmly to the ground, Compare the fir- ished trees and rocks with those in Step 6 and you'll sec how much the picture gains by these slight touches. The big central tre is placed mone firmly om the ground by its dark ‘rank and shadow, A few cracks and additional dass make the rocks much more solid and realistic, DEMONSTRATION 3. HILLS: Step 1. The pencil drawing traces the shapes of the lle tops very carefully: defines the curves withix the hills and the lines of the shore; wt sim ply suggests the trees, leaving oom for free brushwork later oa. The sky begins with a pale wash of yellow ochre, followed by strokes of Payne's pray, wet-in-wet ‘The distant hills are painted with Hooker's green, cerule an blve,, and Payne's gray Step 2. The big shape of me hills is covered with a wash Hooker's green, yellow ccehre, und ltramarine blue While the underlying color is still damp, darker strokes are adMled to sugges! trees, These strokes are a mixture of Hooker's green, bum sicona, si wlttarmarine blue, blurring slighty with the damg under tone. When the entire area is (Ory, mote trees are seigresied ‘with this dark mixture, - DEMONSTRATION 3. HILLS 29 Step 2. To indicate the re fections in the water, a email, fst brush ix loaded wich Hooker's green, burnt umber, find ultramarine bine, then drawn across the paper with steady horizontal strokes, At the left, the color is heavy and fluid. At the sight, the brush is merely damp, producing a ddrybrash effect that suggests light shining on the water. The light patches are bare Paper Step 4. The foreground ix painted with mixtures of cadmium yellow, Hooker's Breen, and cadmium orange The strokes are applied quickly. overlapping one aa- other and flowing together, Here and there, you see touches of almost pure cad- mium orange, which add some necessary WwaM Notes ‘to a cool picture, DEMONSTRATION 3. HILLS 30 Step 6. When the foreground fhe tree and mixture of Hooker's green, bret umber, and burnt si cena, The color is quite thick, containing just enough water tor make it laid, and the side of a small, round brush is used to create ragged, ieregu- drapes alread version of this miixnare—with moe water—becomes the shadow under the tre. Step 6. The dark trees om the distant hill become slightly more distin as a small, round brush ads strokes of bumt umber and Hooker's geen, Some of these strokes are broad and chunky, sag- esting the overall shape if 3 uve, Other strokes arc ver cal and slender, suggesting treetrunks. If you look close: ly, you're not really sure that you see any specific tees, but these additional dark strokes saggext enough to give you the feeling that the trees are feally there. This samme mix ture is used to darken the re~ flection in the left side of the water DEMONSTRATION 3. HILLS. Step 7, Those last vital details are added to the grass and trees in the forepround, A small, round brush carries a mix ture of alizarin crimson, Hooker's green. and burnt sienna ‘The tip of the brush adds a trunk and some branches to the large tree, some tangled branches to the bash in the ower left, and some slender lines t0 suggest rigs and weeds. You can also see more detail added wo the water. A mixture of Hooker's green and burnt sienna is used to add some very tiny ripples in the water at the very center of the picture You can also see additional deybeush work in the dask ee flection under the bill at the left. The ripples don’t cover the entire strip of water, There are jus! encugh ripples to give you the feeling that the water is moving, uM ‘Step 2, The distant hills ane ‘painted with a wash of yellow coche, Payne's gray, and ce rulean blue. While the wash the tone and faces it out im the right-hand side. Thus, the distamt shore seems. farther away and has a more atmos- pherks quality, Step 6 Working downward. a small, round brush adds short, choppy. slightly curved strokes 19 suggest ripples. The strokes vary inlength and thickness; thus they're never onotonous. The mixture is Hooker's green and ulra- marine bor DEMONSTRATION 5. SNOW AND ICE 37 ‘Step 9. The thickest, darkest treetrumks are added with ‘very fluid strokes, a blend of alizarin crimson and Hooker's green. Look closely at the tnunks—panicularly the one ‘on your Fight—and you'll see that the mixture is sometimes dominated by the green and someticnes by the ted. Stop 4. More trees are added ‘with the tip of a small, rood bash carrying a mixture of Hooker's green and bamt umber, kn the sky, you can sce a light spaner of cadmium red, alizarin crimson, and Hooker's green, flicked on with the same bewsh. These dark droplets give you the idea that some dead leaves are sill hanging from the slender DEMONSTRATION 5. SNOW AND ICE 38 ‘Step 5. The icy water, which reflects the dark tones of the sky and the surrounding trees, is pow printed with curving serokes that wind from the foreground through the mid- dle distance and bick toward the horizon, The pale strokes ‘some first: they are mixtures ‘of Hooker's green am! bumt sienna or Hooker's green and burnt uraber. Thea come the dacker sirokes, which are Hooker's green and slizarin crimson o¢ cezulean blue and ‘burnt wimber ‘Step 6. Warmer touches are added along the banks, sug- burt sienna and cenulean blue ate added among the Ireeirunks to suggest paiches of dried weeds, The samme mistures are used forthe thin strokes that render the stalks sticking wp through the snow. DEMONSTRATION 5. SNOW AND ICE 39 ‘Stop 7. In this final sage, the curvesof the snowbanks—to the left of the frozen sueam—are accentuated with curving serakes of cerulean blue and burnt sienna, This same mix ure is used to adhd more touchics of shadow beneath the tees ‘on the right side of the streams. A. few more touches of warm ‘color—cacmiura orange—enrich the dry grass among the ees. More darks and more branches are added tothe tree- trunks with a mixture of alizarin crimson and Hooker's green, This snowy landscape shows how brushstrokes cam mold the forms of the land. You've already seen how the

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