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or view my paintings on http://www.samuelearp.comStep 7 - Now I am blocking in the foliage and bushes in the
foreground. I mix different hues of greens by using varying
amounts of cadmium yellow deep, ultramarine blue, pthalo
green and quinacridone magenta. The shadows in the trees was
mixed using pthalo green and quinacridone magenta which
creates a very dark tone as the two colours being near opposites
on the colour wheel, cancel each other out. This colour mixes
in well with the highlighted greens of the trees. Paintings are
more harmonious when the colours contain common elements.
I also add burnt sienna or cadmium red light to my greens to
create a variety of hues. Be mindful that pthalo green is a very
saturated green and therefore only a small amount is required. If
too much pthalo green is added it can be nutralised with a little
quinacridone magenta.
Step 8 - Next I am painting the rocks and boulders in the river.
In order to create the effect of strong sunlight I am keeping
the shadow areas dark. Effective landscape paintings are about
relationships between light and dark values and where they
are placed in the painting. I want to keep the shaded areas of
the rocks dark so the highlighted areas are more effective and
dramatic.
I have started painting in the river using cobalt blue and
ultramarine blue mixed with titanium white and generally
matching the colours contained in the sky. I have left a few gaps
to add in white water.Step 9 - Now the fun part, adding the lighter tones that will
bring the painting to life. I start to paint the highlighted snow
on Mt Talbot by mixing titanium white and little yellow oxide.
It’s always a good idea to add a little yellow oxide as titanium
white on its own is too cold. For the mountain furthest away
on the left, I have added a little burnt umber to the snow to
make it recede more. I have used titanium white on the large
mountain and allowed it to mix in a little with the existing
colours I have used in the shadow snow areas. Afterwards I go
over the top of the snow with titanium white. I have painted the
highlights on the rocks using yellow oxide, mixed with burnt
umber, burnt sienna and titanium white varying the mixture to
create different hues. I have added more foliage using varying
hues of green.
Step 10 – Final Step
This is where I finesse the painting, adding in twigs and branches
to the trees, painting reflected light in the snow and adding
the suggestion of cloud in the sky which adds interest and
atmosphere in the painting.
Using liquin as a medium to mix and thin oil paints when plein
air painting can be a real advantage as it can allow you to go
over areas that are already beginning to dry. It’s a great time to
add thicker layers of paint, but if needs be, it can be tidied up in
the studio afterwards.
I hope you have found this painting demonstration useful and
that it’ll inspire you to paint outside, I can’t emphasize enough
how much it will improve your studio work by painting
outdoors.