Artist's Palette - AU (2020-03)

demonstration

rules are made to be broken.
Strategic placement of distant
trees leads the viewer’s eye into the
painting. The fence line and dirt
track also help to achieve this.

STEP TWO

For the sky, I remembered to work
upwards – increasing the strength of
the colours as I proceeded. The sky
determines the colours of the landscape
elements (especially water). I applied a
mixture of TW, YO and PM above the
distant ranges to approximately halfway
up the sky. Another band of TW and CB
was brought down from the top of the
board, and the two bands were blended.
The lower band ‘bleeding’ through the
bluish band suggested the luminosity
and warmth of the Australian sky.

STEP THREE

For the mountain ranges, I worked
from the most distant and painted
forward. The different ranges were
blocked in using the darkest colour
present in each (TW, CB and PM). In
painting the closer ranges I increased
the colours to strengthen the tone; and
I added IR for the front foothills.

STEP FOUR

With the ‘mother colours’ in place it
was time to add the highlights of the
trees in sunshine and any paddocks.
On each of the ranges, for the foliage,

I used the ‘mother colours’ with TW,

PM and YO. The paddocks were TW

and YO. I used bigger brush strokes

as I moved forward. The large areas

of plain colour (shadows) acted as

a ‘rest’ from the busier areas.

STEP FIVE

Thus far, the repetition of several

colours had been deliberate in order

to achieve harmony of colour. I had

avoided using any greens by focusing

on the distant blue-greys of the faraway

hills. I could not fully appreciate (or

correct) any stage until the next stage

had been completed ... therefore the

sky could not be fully appreciated

until the mountain ranges were

completed and ‘played off’ against it.

The middle distance is vital as it

‘ties in’ the strong foreground colours

with the subtle background colours.

Stronger tones of YO and PM brought

the paddocks forward. The foliage of the

gum trees was achieved with CB, IR and

YO (in the shadows) and YO with CY

(in the sunlight). In adding highlights I

remembered that the light source was

coming from the top left-hand corner.

I anchored the trees with horizontal

shadows. The trunks and limbs of the

trees were done with CB and IR; with

highlights of CY and TW. I used stronger

colours in the second dominant tree.

STEP SIX

I used my oil paints to the best

advantage for the main tree. I applied

the paints liberally to give as much

texture as possible. After the CB and

IR ‘mother colour’ was applied to

the trunk and limbs, I used mixtures

of all the colours in the palette. I

highlighted with TW and CY.

Short vertical strokes in the paddocks

gave the impression of grass. After

applying most of the colour with a

palette knife, I brushed lightly over

the textured surface with a 3cm brush.

I added detail to other elements,

refining them. I remembered to

anchor items to their shadows.

FINAL STEP

To criticise and evaluate my paintings,

I like to frame them while they are

still wet and stand them near the

television. An occasional quick

glance will reveal areas of weakness

or objects which can be improved.

Alterations often take only a few

seconds, with a brush or a finger.

Criticism (especially constructive

criticism) is invaluable. Self-criticism

is the most difficult. If you feel totally

satisfied, this could stunt further

development; but if you are over-

critical you might never pick up a brush

again. Personally I use two criteria to

judge my work: Can I walk into the

painting? Can I walk behind the trees?

What I am trying to say is: “Does

the painting have perspective

(distance) and atmosphere (light)?

Best of luck with your

own artistic efforts. n

STEP FOUR ANd FIVE STEP SIX