This wild rocky landscape needs to be painted with energetic, pointed brush strokes that will help convey the hard, angular surface of the stones and boulders.
Painting brushes are made from natural raw materials or synthetic fibers. They differ in a huge variety of shapes and sizes, depending on the purposes for which they are intended. In order to create a bright, expressive picture, the artist must choose the right brush and skillfully use it.
The most important technical elements of this landscape can be considered the texture of oil paints, the shape and direction of brush strokes, as well as the bold use of the play of chiaroscuro.
For the oil painting lesson you will need:
Brushes for oil paints: round No. 4, flat Nos. 2, 6 and 8
Palette
7 Oil Colors: Phthalocyanine Green, Carmine, Titanium White, French Ultramarine, Grass Green, Neapolitan Yellow, Raw Sienna
White Spirit
Turpentine
Rigid flat molding tool for paint #10
2 spatulas for painting: leaf-shaped and flat
It is very important for an artist to have at his disposal a set of different brushes with which he can create various visual effects. Oil paint brushes come in a wide variety of shapes, sizes, and the material they are made from. Accordingly, in this case, the strokes of paint left by these brushes on the canvas will also be different.
Painting with Flat Brushes The rocky landscape we have chosen as the subject of this lesson provides you with an ideal opportunity to improve your brush skills. In this story there are three elements that are completely different in texture - the sky, stones and grass. This painting is painted mainly with flat brushes, which are most suitable for depicting hard, uneven surfaces.
Flat brush strokes can be modified by the angle you hold the brush and the force you apply to it. You can also write thin lines with the side of the flat brush, and looser strokes with the wide side.
When painting rocks and grass, aim to do it with just a few bold and broad strokes.
Such fast, sharp, unsmoothed strokes will give the picture additional energy and a sense of movement. This is also facilitated by the absence of small details in the composition.
Starting with big color spots
Because the oil paints remain wet on the canvas for a long time, you may be tempted to paint the picture gradually, in small fragments. Needless to say, this is the wrong move. A picture painted in this way, almost a sure thing, will turn out to be unnecessarily overloaded with small details.
It is necessary to start working on this landscape by applying large color spots painted with liquid diluted paint. Only when all the primary colors take their places on the canvas, you can move on to smaller details. This technique will not allow the surface of the canvas to fill up too early with particles of multi-colored paint and at the same time soften the sharp White color primers. finally, large color spots will become a reliable base for you, on top of which you can immediately apply paint in thick, dense layers.
Using molding tools for paint
Today we will use the molding tool for the first time. This is a tool for applying oil paint to canvas. The molding tool resembles an ordinary brush, but instead of bristles it has a piece of corrugated rubber.
Such a tool can be considered ideal for depicting sharp-angled objects, including wild boulders and stones, as in our landscape. It is also convenient to use a forming tool to remove or, on the contrary, smear the paint on the canvas.
Use duct tape to attach the stand to the board
Sometimes it is very difficult to bring home a picture painted in the open air, but not yet dry, especially if it is painted on the board. In this case, you are forced to carry the picture, taking it by the edges. In this case, part of the paint will certainly be on your palms. This problem is very easy to solve by taping the canvas board to the drawing board in advance with duct tape. At the same time, you can quite easily "stop" while working on the tape when the picture is finished, you just remove the tape, and under it there will be a smooth, clean edge.
1 We outline the main parts of the composition
Set the horizon line, granite peak and boulders lying on the ground. Add some carmine to the phthalocyanine green paint to make a warm gray, and thin the paint with turpentine to the consistency of water. Take a round brush number 4 and with smooth strokes outline the main contours of the composition.
2 Coloring the sky
Mix some French ultramarine into the titanium white. Dilute the paint with turpentine to the consistency of concentrated milk. Paint the sky with wide strokes of the #8 flat brush. Add a small amount to titanium white mixed paint, which you used in the previous step. Outline the clouds with small, curved strokes.
3 We outline the distant hills
Mix French ultramarine with titanium white and a little carmine. Mark the distant hills with a few free strokes of this paint. Add grass green and Neapolitan yellow to the blue mixture to give it a green tint. This paint will help you paint a cooler tone on the far side of the hills. To do this, apply a thin layer of green paint over the blue paint that you used to paint the hills.
4 We outline the main color of the stones
In carmine, mix a little phthalocyanine green paint, titanium white and Neapolitan yellow paint. With the resulting purple-gray tone, paint over the granite hill. Apply horizontal strokes with the broad side of the brush, depicting the outlines of separately lying stones. In this case, the paint should be a little thicker so that brush marks remain on it.
5 Adding new stones
Lighten the purplish-gray mixture with some titanium white and paint on the exposed rock under the large granite mound. Use the side of the brush to apply short strokes following the jagged outlines of large stones.
6 Starting to paint the foreground
Add some more carmine to the paint you just worked on to get dark shade purplish grey. Use this paint to paint shadows on nearby stones.
Mix Neapolitan yellow paint, grass green paint and whitewash. You should be able to green color with a yellowish sheen. Use this paint to paint patches of grass on foreground. Apply paint in loose strokes using the wide side of the brush.
7 Finishing the foreground
Continue to paint the grass in quick free strokes and resist the temptation to smooth them out. In order for the shades of green to vary from light and warm to cold and dark, use blue and yellow paints mixed in various proportions. Different shades of green will help you write bumps and pits on grassy ground.
WE CONTINUE WORK
Now that all the main elements of the composition are outlined, you can start adding details and texture. At this point, we have already managed to achieve a sense of the depth of the landscape. This is achieved due to the fact that the foreground of the picture is written in warm tones, which gradually, as they move towards the horizon, become cold.
8 Writing individual stones
Mix Neapolitan yellow paint and white. Add to it a little different mixture, made up of phthalocyanine green paint with carmine. Use this paint to paint individual stones lying on a granite hill. Each stone is written in one stroke, then turn the brush over and write the next stone with its opposite side. If you do not do this, you can brush off some of the bottom layer of paint.
9 We continue to write the hill
Slightly darken those lying on right side hill stones, adding a little more Neapolitan yellow paint to the mixture. As before, paint each stone in one stroke. For larger stones use a #8 flat brush and for smaller stones use a #6 flat brush. Leave gaps between the strokes: the dark bottom layer of paint peeping between them will depict the shadows lying between the stones.
10 Add Far Highlights
Lighten the mixture with yellow paint and white and paint the illuminated areas of the boulders lying in the foreground. Then add a little more white and French ultramarine to the paint, which will immediately make the tone colder. Take a flat brush number 2 and write highlights on the far stones.
11 Working with a molding tool
Now use a thicker paint and apply it with molding tool for paint number 10. Take whitewash, add some Neapolitan yellow paint to it and write smoother stones with a shaping tool. To give the stones an uneven shape, write each stone in one smooth stroke, turning the shaping tool as you do so to leave vertical or horizontal impressions on the surface of the paint.
12 Working on the foreground
Take a #6 flat brush and lighten the shadows lying on the boulders with a light gray paint mixed with ultramarine, carmine and white. Mix raw sienna, Neapolitan yellow and white and paint in small, uneven strokes on the dried grass in the foreground.
FURTHER STEPS
In this picture, you can consider it finished. All elements are written; The composition is based on simple, strong and harmonious color contrasts. Restrained coloring and strict outlines of stones convey the atmosphere of a wild hollow lost between the mountains. It remains to work out some characteristic details to give the picture even more expressiveness,
13 Adding Highlights to the Grass
Mix Neapolitan yellow with a small amount of grass green paint and add this mixture to the white. Take a #6 brush and use this pale greenish-yellow paint to lighten the lighted patches of grass in the middle ground. So you will pass the sunlight falling on them. At the same time, move the brush so that it barely touches the surface of the canvas and through the light paint the lower layer of the darker paint can be seen in places.
14 Deepen Shadows
Take a #2 flat brush and deepen the tone of the shadows lying between the rocks on the shaded side of the hill. To do this, add a little carmine and white to the French ultramarine.
15 Writing Drop Shadows
The light falling from the left causes the boulders lying in the foreground to cast shadows, which, naturally, should fall to the right. Paint these shadows with a #2 flat brush and dark green paint mixed with grass green paint and raw sienna.
16 We reproduce the texture with a spatula
Mix dark blue French ultramarine paint with carmine to paint cracks on the surface of the hill. Pick up some paint on the edge of the leaf-shaped trowel, and then quickly and easily run the trowel over the slope of the hill, which will then leave prints in the form of fine sharp lines.
17 Printing Grass in the Foreground
To the white mix a little raw sienna. Take a flat spatula and dip its edge into this mixture. Write individual dried blades of grass in the foreground, for this, pressing the edge of the spatula against the canvas and immediately tearing it off. In this case, individual short lines of a blade of grass will appear on the surface of the picture.
18 Finishing the Sky
Add some warm tones to the clouds. To obtain the paint of the desired color, mix Neapolitan yellow paint with white paint. Pick up this mixture at the very tip of a #4 flat brush and apply a very thin, almost transparent layer of paint to the edges of the clouds.
Step by step oil painting lesson - result
A Expressive brush strokes
The granite hill is written very simply, with a minimum number of strokes, but with their help it is possible to convey the texture and volume of the hill. The expressive use of brushes, molding tools and spatulas makes it possible to very vividly depict the surface of an uneven, weathered stone.
B High skyline
The horizon line located very high or, on the contrary, very low, can affect the entire composition in an amazing way. Here the horizon line is lowered by about one third from the top edge of the painting, which allows the artist to create a spacious foreground and emphasize the vast expanse of this wild corner of nature.
B Selective use of details
A large number of details can be too tiring for both the audience and the artist himself. When you paint foliage or grass, draw a few clear leaves or blades of grass in the foreground, and reduce the image of foliage or grass in the rest of the picture to a simple color spot.
Description:
Demonstration on painting a landscape in oil. Using the technique of contrasting light and shadow, alternating brush and palette knife. 1. At the end of 2007, I was approached by clients who needed big picture for their home. They weren't sure what they wanted, but they knew they wanted something that reflected the majesty and splendor of the Sierras. I have a lot...
Demonstration on painting a landscape in oil. Using the technique of contrasting light and shadow, alternating brush and palette knife.
1. At the end of 2007, I was approached by clients who needed a large painting for their home. They weren't sure what they wanted, but they knew they wanted something that reflected the majesty and splendor of the Sierras. I have a lot of reference photos taken on the ground while hiking. For sketching, I chose the two photographs shown above of the majestic Sierra Bats, which I took on a ridge overlooking the Sardine Lakes.
2. After consulting with clients to see what they like, I made the sketch shown below with another lake, Long Lake, as a proposal for the project. They were immediately interested and we came to an agreement. With impatience and great anticipation, I thought about what a magnificent picture it would turn out to be. Following the chronology...
3. The painting will be 40” x 60”, the same size as the Mount Washington shown in the studio on the wall behind me. I assembled a heavy stretcher and inserted a center brace to add tension to the canvas.
4. With the canvas as tight as the drum (or at least as tight as I think the drum should be), I'm really ready to start.
5. It's 4:45 am and I'm starting work by preparing a mixture of beautiful burnt orange. Then I apply this mixture with a large brush. This is just for tinting my canvas, so eventually I even bleed the paint to the edges with a damp towel dampened with a bit of thinner.
6. Once the canvas is toned, using the same mixture of burnt orange, I draw in some of the main elements, according to my current sketch, which will help me move forward.
7. Here you can see a number of details that I have outlined for myself. Not much at this stage.
8. Clouds are scattered across my sky. Therefore, using light blue, I defined areas of clouds and sky.
9. After it is determined where I want the sky and clouds to be, I begin to write.
10. I start with the light areas of the sky (mostly the area near the horizon) and move towards the dark ones.
11. I almost finished the sky before I started painting the clouds...
12. Usually, I write from dark to light, but the sky and clouds are an exception for me; especially, clouds because of their nature. Usually, the dark part of the cloud is closer to the viewer and shows a shadow, as well as reflecting the back and top light from the sun.
13. To finish the clouds, I paint the "dark" areas over the light ones, making different color stretches depending on the shape and texture of the cloud.
14. Shown here is the right side of the painting with the sky almost completed.
15. Once I am satisfied with my sky, I move towards the focal point of the picture, towards the mountains. I begin to thinly apply paint in the dark areas of the mountains. In this photo, the dark looks a little too dark, but in reality the dark areas are not as dark. So I want to move the mountains back a little, but I have to be careful not to overdo the dark in the shadows of this part of the picture.
16. I go back to these shadow areas and add some texture with a lighter "dark" color before moving on to bright side harsh mountains. I alternate between a palette knife and a brush to finally give the mountains the texture I want.
17. I start painting the bright side of the mountains using the same basic method. Essentially sketching, just considering the combination of light and shadow in the painting...
18. I like to keep my palette very simple... at this point in the colors you can only see the three primary colors: yellow, magenta and cyan; one secondary is red (more used to make brown) and a very dark color that I call "reasonably black". By using various combinations of these colors and titanium white, I am able to get some of the warm and cool earth tones that I use for the mountains.
19. So, in essence, in this manner, I move from edge to edge in the mountains, alternating between a palette knife and a brush ...
20. The difference in progress is visible between this photo and the previous one - about one painting session ... There is still a lot of work ahead!
21. Such mountain detail can be overwhelming for an artist, so to protect myself, I work by paying attention to the combination of light and shadow, as well as colors in relation to each other in each area and in the whole picture ...
22. This close-up shot shows the angle of the brush and palette knife at work on the mountains...
23. This picture was taken by stepping back a little...
24. I'm almost done with the harsh mountains and will soon move on to the middle plan of the picture...
25. To finish the mountains, I must write the remaining snow that is on them. all year round... I start with the snow, which is in the shade. Even though it is shaded, the snow is still quite light in the transitions of light and shadow.
26. And on the light part, despite being quite bright, the paint is not pure white (even if it looks white in this photo). Usually I paint clouds and snow with a little bit of very light yellow...
27. Ah, this snow is exactly what really adds volume to these harsh peaks...
28. Here is a picture of the main part of the mountains at the almost final stage...
29. The trees covering the mountain slopes in the middle ground are only beginning to be visible as the sun moves from east to west across the sky. Because the trees are still in some shade, I do a thin underpainting of the dark areas before painting any trees on top. I remind you that this tone is still quite lighter than black. Since it's hard to see it in the photo, when there is nothing to compare with ...
30. In this photo, the actual transition from light to shadow in dark areas is seen a little better than in the previous one ...
31. After my underpainting is in place, I start painting on top of the trees.
32. This is what it looked like when I was in the middle of the process of writing trees...
33. I also paint trees, alternating between a palette knife and a brush... this is a great method for any images with a lot of textures...
34. It is now about 6 o'clock in the morning and I am leaving my studio to get ready for the day.
35. Coffee is a great ally for those early morning painting sessions...those of you who get my email updates may remember this picture I sent while the painting was still in progress. At this stage, I have finished a little more than half of the work.
36. The picture shows that the plot with trees is almost ready....
37. Now I'm starting to concentrate on the area covered with tannic bearberry and immersed in the sun, on the right in the picture. The transition from light to shadow on this side of the "bowl" is much brighter. Firstly, this area is constantly in the sun, and secondly, the bearberry is much lighter in color than the pines on the left. It is also a low growing plant and receives more direct sunlight and from this adds the appearance of light to the picture.
38. Now I'm starting to work on coastline Lower Sardine Lake...
39. Since I'm starting to paint the reflection on the water, I have to keep a few things in mind. Firstly, the viewer's eye falls high enough in this picture, so you will see a drowning reflection, which means that from this angle you will not be able to see the whole mountain reflected, only a small part of the nearest ridge, since the mountains recede quite quickly, although they're supposed to be incredibly cool... Secondly, I have to be careful with my light and shadow transitions, in general, the highlights will be darker than the areas they reflect, and the dark areas will be lighter than the areas they reflect. they reflect. The closer the object is to the reflection, the closer in color reproduction this reflection should be to the object. I know it's enough to spin your brains... let's move on...
40. Here the work on the lake is almost completed...
41. Now I'm moving towards the foreground of the painting... I'm painting this area starting behind the nearest mountain range, also using a double combination of color and shadow in the process of sketching.... Working with the "dark" ones first...
42. And then I go back and work with the "light"...
43. I continue this process until I get not only the tops of the trees sticking out from behind the edge of the ridge, but also the large trees that grow near the top of the mountain range ... Now I begin to concentrate on the bearberry that covers the mountain itself ridge.
44. The large stone in the foreground has a lot of texture, so again I alternate between brush and palette knife...
45. So I start painting the rest of the mountain range, first glazing with a thin but darker layer of burnt orange to give my underpainting more contrast, which will give the viewer the illusion of closer.
46. Continuing my double light and shadow approach, I add light and shadow to the dark green...
47. …Then I add light and shadows in light green, some gray bushes and stones…
48.... Continuing with slightly warm and cold tones, I highlight the stones at the edge of the path...
49. After I'm done with my original double light and shadow transitions, I can go back and highlight the highlights and add accents to complete...
50. Then I add a couple of light transitions to the path, mostly using my palette knife...
51. Here the picture is close to completion ... Most likely there is about a week ahead to finish everything.
52. I'm sure you're probably tired of the phrase "double transition of light and shadow" by this time, but this is the approach I used to paint the remaining trees, first a dark underpainting, ... then the highlight transitions of light and shadow from above .
53. ... And lighter shades on top ...
54. I paint my underpainting with dark transitions of light and shadow for the bushes in the foreground to achieve more contrast when I add bright hues. Objects in the foreground should always have more contrast than objects in the background...
55. Here I add a middle layer of light and shadow transitions... I'll come back later to highlight the highlights...
56. There is only one stone left to paint, which is in the side corner, so I sketch and then add texture with a palette knife, as you have seen before...
57. Then I paint in the foreground foliage and I'm almost done.
Finished painting
Description how to paint mountains
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