STAGE BY STAGE |
Essential
Supplies
The items you will need to complete this scene are as
follows:-
Watercolour Paint
Burnt Sienna
Yellow Ochre
Raw Umber
Cobalt Blue
Light Red
Ultramarine Blue
Alizarin Crimson |
Brushes
1.5" Wash brush
3/4" Wash brush
No.8 Round
No.3 Rigger |
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Now to make use of the autumnal tree that
we have already painted, by putting it into a landscape. As you can see I
have done my outline drawing, just a few trees and a little bit of
distance. Now I've put on my sky wash which is done in the usual
format, loads of water, this time whilst still soaking wet I add a
little bit of yellow ochre followed by burnt sienna using my 3/4"
wash brush. Whilst this is still wet, add cerulean blue mixed with light
red, firstly fairly weak, and then a little bit stronger for the darker
cloud coming in from the dark right, and still with my 3/4" wash
brush, wash out the brush, squeeze between my fingers and suck out some
clouds in the top right hand area. Give it 2 minutes to dry. |
Now switching to my No.8 round brush
and a well watered mix of cerulean blue and light red, the same colour as
in the sky, just add a few daubs in the bottom right of the landscape
and there we have some very distant trees.
Now an even lighter version of
the same colour still with my No.8 round brush, and there is our distant
hillsides. |
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Now switching back to my 3/4"
wash brush, a little stroke of well watered yellow ochre into the
distance areas. You will notice that already we are starting to build up
the feeling of autumnal colours. |
Now to make use of our trees. For the
further away group I'm changing to my rigger brush and a well watered
mix of cerulean blue and light red, simply filling in my pencil marks. At
this stage you don't need to be too careful about detail, in other
words don't paint thousands of trees. Simply draw the outline of the
tree, and then for the canopy of twigs using the same colour but changing
to my 3/4" wash brush, simply tap on picking up the surface of the paper
to give the impression of a canopy of twigs. |
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To get this effect, when you are
tapping on the paper with the brush, if you make sure the metal of the
brush taps on the paper then you can ensure that the full length of the
hair is tapping on the paper.
Slightly more detail in the
foreground trees, but still using my rigger brush, firstly using yellow
ochre to the left-hand side of each tree, then raw umber to the right of
the yellow ochre, then a mixture of ultramarine blue and burnt sienna to
the right of the raw umber so that I have a light mid tone and a dark
side. Now rest the full length of the rigger brush on the side of the tree
with a mixture of ultramarine blue and burnt sienna and simply stroke
outwards in a flicking motion to get those rough edges at the sides of the
trees.
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For the foliage I am again swapping to my
3/4" wash brush and using the same tapping on motion, firstly with
yellow ochre, then whilst still wet on top of this with burnt sienna
then whilst still wet on top of this a mixture of ultramarine blue and
burnt sienna.
Then at the base of the trees using my 3/4" wash brush with the side
of the brush, flick upwards to create a little bit of rough growth at the
base of the trees. |
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Now for foreground. People tend to worry that you have to mess around
with lots of detail - quite the reverse. The less you put in, the better it
will be. And as you can see here using my 3/4" wash brush I've just
stroked across the whole of the bottom area with yellow ochre, fairly
light strokes so that I am picking up the surface of the paper and leaving
some white sparkly bits showing through.
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Now using the same strokes but this time
not going across the pathway, using my 3/4" wash brush using raw
umber and burnt sienna.
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Now be brave, and with my No.8 round brush
and a mixture of ultramarine blue and burnt sienna draw across some
shadows.
And that's how to make use of the autumnal
tree that you have already painted,
simply
stick a few more of them in a clump. Next we'll do a winter tree and you
can guess what will be coming after that. |