I simply used more pigment for the bottom and diluted the mixture with more water for the top.
Without adding too much detail, I continued to paint the second tree further away. It was important that I keep the tree foliage lighter on the top areas and darker at the bottom to give it more depth and dimension. I used the tip of the brush to dab and drop paint into the tree.Īfter the paint had dried, I added Prussian blue+gamboge, to get a darker green I added more Prussian blue. Let it dry… Painting the foliage Painting the trees:įor this next step, I started by mixing cobalt blue and lemon yellow to create bright vivid green. In my palette I mixed together Prussian blue+ Gamboge + a touch of burnt sienna in order to get a shade of olive green: This can be difficult to master in your paintings, which is why for this painting I included only two to three shades to help you practice. If you only use one shade of green your paintings will appear more flat. Also, remember there are different shades of green. If you leave a few streaks and areas with more paint, you’ll have a lot more texture. Tip: When painting any field, think of how the ground is uneven and how you can express this through your brushstrokes. I diluted the mixture then painted a wash over the bottom left area. You can see this in the image below:Īfterward, I mixed some cobalt blue and lemon yellow to get a lighter more vibrant green. As I approached the foreground I reduced the concentration of paint by dabbing the brush on a paper towel. With the green mixture, I painted uneven brush strokes along the horizon. This time I added more gamboge to make the green slightly warmer than the background. On my palette, I mixed Prussian blue and Gamboge to create a lovely medium green. To paint the field I started by wetting the paper with clean water (not too wet). It was time to paint the field, same as before, I began by preparing the colors on my palette: After It had dampened, I then added uneven lines across the top to give them more texture. Prussian blue+ lemon yellow = blueish green (I wanted a darker green so I added more prussian blue)Īfter switching to a size 8 brush, I pre-wet the mountain area with clean water then added a light wash of blueish green mixture.That is why this step is probably the shortest. In this case, I wanted to make the mountain simple and less detailed. Once again I added yellow orange, also in curved brush strokes: Painitng the mountain I continued using a damp brush and picking up streaks of pigment
I began adding cerulean blue along the top of the painting and spread it in curves like before. Next, I cleaned off the brush, dampened it on the paper towel, and lifted the yellow-orange pigment from where the tree foliage was.įor the second layer, I used the wet-on-dry technique.
It was time to add some yellow-orange towards the horizon like so: This way I could spread the cerulean blue in curved streaks from the top right corner to the bottom left of the sky without too much water. Next, I cleaned off my brush and dampened it with my paper towel. Using the size 18 brush I began painting wavy brush strokes along the top of the sky from right to left. I pre-wet the paper with clear water (making sure not to use too much water). I painted two layers Firstly I began with the wet in wet technique. I found it produced better results in this painting! Tip: Try using a big brush when painting the sky. My favorite bit was painting the sky, only because I never know how it’s going to turn out! You can refer back to the landscape painting in the feature image at the beginning of this post.
Before starting with the actual painting I started with the basic sketch.
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