Leisure Painter — June 2017

http://www.painters-online.co.uk JUNE 2017 55

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Youwillneed

nSurface

lCanvas panel,

18 x21in.

(45x54cm)

n Brushes

lFlats Nos. 8 & 2

lFilberts Nos. 6 & 2

n Miscellaneous

lWillow charcoal

lGloss varnish

n Oil or

acrylic paint

lTitanium white

lUltramarine blue

lCerulean blue

lBlue black

lPermanent

mauve or

dioxazine purple

lCadmium yellow

medium

lRaw umber

lYellow ochre or

yellow oxide

Step 1 Sky, moon and the shadow of the clouds

1 Draw the basic composition with willow charcoal. I didn’t change

much from the photograph, as the cloud formation was quite good

the way it was. I deleted the two wispy clouds next to the moon as

I felt they were a distraction.

2 Paint the lightest blue of the sky at the horizon with a mixture

of cerulean blue, titanium white, ultramarine blue and blue black.

Work your way up the sky painting between the clouds by making

this original sky colour darker with ultramarine blue. At the very top

of the sky add permanent mauve. Don’t leave the canvas bare where

the moon needs to be placed, but paint sky colour over this area.

3 Using a medium-sized filbert brush and the lightest sky colour, paint

the moon, keeping the edges slightly fuzzy. Add highlights to the upper

left side of the moon with titanium white, which is warmed slightly

with the smallest amount of cadmium yellow medium.

4 Indicate the shadows on the lower right side of the moon roughly

with a dark grey colour made from a mixture of some dark sky

colour, blue black and titanium white.

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Step 2 Complete clouds and

block in headlands

1 To complete the clouds, mix a mid-tone grey

by adding more titanium white to the shadow

grey then a highlight grey by adding titanium

white to the mid-tone grey. As the moon is

reflecting light onto the upper right side of the

clouds on the left and onto the upper left side

of the clouds on the right, this is where the

highlights should be concentrated. Use a filbert

brush to shape rounded forms and fuzz the

edges of clouds into the background sky.

2 For the underpainting of the landforms, it’s

important to notice that the three headlands

are at varying distances away from the viewer.

The headland on the right is the closest, so

its colours are the darkest and most intense.

For the rock face at the top of the headland,

use ultramarine blue and raw umber. For

the vegetation covering the rest of the

headland, add yellow ochre into this mix to

green it slightly. For the headland on the far

left, which is a bit further away, add a small

amount of blue sky colour to the closest

headland vegetation mix. For the most distant

headland, use the above mixture and lighten

and blue it slightly by adding ultramarine

and titanium white.

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DemonstrationMoonshine

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