dry before introducing darker hues. Try
to paint trees in two ‘hits’ – your first
rather frenzied foray followed by another
more considered one later on. You can
make minor adjustments after the first
application is dry, but don’t fiddle.Trees with leaves
I think it helps to observe the silhouette
and go for the ‘planes’ and not a frilly
outline. After finding the basic shape,
try to find straighter edges to give
interest and energy. It still needs to be
well observed, but it is a big mistake to
define every single leaf.
I like working wet into wet for trees
in leaf, otherwise they can become rigid
and overworked. It is worth noting that
branches, boughs and twigs are hardly
ever chocolate brown – they can be very
dark against a light sky or vice versa. The
colour that you start with for the trunk is
often completely different by the time
you reach the outer twigs.Composition
Trees are important in a landscape
painting, because they create the
much needed verticals; even if it is
a windswept bush on the horizon, its
positioning is crucial. A tree in the
distance may seem nothing more than
a blob, but that shape must add value.
If they are in the far distance, always
make sure you keep them on the blue
side of the spectrum and remember to
utilise their shadows as a vital part of
your composition.
Foreground trees are equally important,
but make sure you don’t go mad and
make them too vivid green. There is a
big discrepancy between what we think
we see and the art of the possible,
particularly in watercolour. Never be
afraid to experiment with your own
colours, trying all the while to portray
what interested you about the tree in
the first place. If you become interested
in its workings, it will look interesting
on the page. LPhttp://www.painters-online.co.uk JUNE 2017 37
AmandaCooper
Find out about Amanda, her work,
painting holidays and workshops by
visiting http://www.amandacooper.co.uk.
Amanda is also taking part in Oxfordshire
Arts Weeks throughout May.Sketch of Scotts Pines with the shadows
washed in ultramarine and burnt sienna.
I used Winsor blue for the tree. This was the
preliminary sketch for Above Chilston(below).tDetail from Above Chilston, watercolour
and paper collage, 25^1 ⁄ 2 x16in. (65x41cm).
In this painting I applied a raw sienna
undercoat. The pine trunks were almost
purple so I added a touch of alizarin
crimson to French ultramarine to achieve
this. The greens were ultramarine and
green gold with raw sienna.tLP06 36-37 Cooper_Layout 1 05/04/2017 14:11 Page 37