9
Thegrasseswillneedtolookasif they
aregrowing,notfloating;thereneedsto
bea transitionbetweenthedarkglazeofthe
shadowsandthedepictedverypale,sunlit
grasses.Usingrichmid-tonesina rangeof
greens,paintintheshadowyareaatthe
baseofthegrasses.10
Using a range of greens, and strong
dark tones across all of the colours,
paint in the leaves across the top of the
painting. Use brush techniques that easily
make leaf shapes. Change colours
frequently, washing the brush between the
use of different colours, to keep the colours
fresh. Allow the shapes to overlap while the
paint is wet, so that soft edges are created.
Also paint on to dry paper so that hard edges
appear, making definite leaf shapes, giving
context to the other marks.
Do not work too quickly and take care
to leave gaps so that the lighter tones
underneath show through. The gaps
between leaves are usually quite angular
and random, so random shapes left by your
brush will be a good way to achieve a
natural-looking effect.
Do not rush working this layer. Work quickly
enough to avoid tightening up and including
too much detail but slowly enough to make
deliberate choices of marks and colours.11
Remove the masking fluid that was
applied for the grasses and highlights,
by gently rubbing the dried masking fluid with
your fingers. Using Permanent Mauve, Indigo,
Cobalt Blue and Sap Green, mix a range of
colours in the darkest tones possible.
Choosing different colours from within the
mix as you work, paint in the tree trunks and
branches. Be bold: these trunks need to be
extremely dark.
Continue to paint in the final glaze for the
depiction of the shadows across the ground.
Again, leave small patches of the lower
glazes showing through. Take care to keep
everything dark enough. In the reference
photo, the edges of the tree trunks are lost
in the shadows, so match the tones well.12
Finally, stand back to assess
the painting. Make any final
adjustment to colour and tone, before
adding the final touches. Using very
dark tones, paint in some shapes
along the top edge of the shadows
on the ground and at the base of
the grasses.
To complete the painting, paint in
some well-defined leaf shapes around
the branches and tree trunks, using
the very darkest green mixes.
Place some of these leaves across
the very bright grasses; the very wide
tonal range in this region of the
painting will enhance both the
brilliance of the grasses and the depth
of the shadows.
This is an extract from the new book
Painting Trees – Colour, Line and Texture
Through the
Seasons by Siân
and Rob Dudley,
published by
Crowood Press,
RRP £18.99.
http://www.moorto
seaarts.co.uk