![]() You'll develop your own process for creating your own great landscape painting. ![]() This will protect your wonderful landscape painting for generations to come. Whatever you use, just remember to use something. That's also possible, and there are lots of products on the market. I like to coat my paintings with a coat of protective clear (I use Atelier Gloss Medium & Varnish - think they are changing the name to just Gloss Varnish ). Often, those little flashes are the thing that makes the landscape painting "pop". This is also a great place to add flashes of colour by suggesting wildflowers, or even just spots of colour 'cause you can. Trees over sky, tree trunks over grass, and finer leaves and branches in foliage. This is where we tidy up any places that overlap. This is where we apply the final subtle highlights to the edges of the trees, or possibly even add daubs of the sky colour (daubs: such a good word) into the trees to create the impression of gaps in the foliage. Time to understand your paintbrushes people! The better you understand your paintbrush, the happier you will be with this stage of your landscape painting. The amount of pressure you apply, the amount of pigment you apply, and how deftly you use your brush - all of these things are becoming much more important. Now is the time to start really using the nuances of your paintbrush. This will eventually give your painting much more life and dimension. In other words, you are putting gradually more detail into your landscape painting, allowing it to evolve in layers. The approach is "tighter" than the roughing in process. And paint it!Īpply the same principle to everything else within that "dark" tonal range, for example, grass, rocks, cows, creepy dudes, etc.Īt this point you can still apply highlights. See if you can isolate the next dark colour (slightly lighter than the darkest dark).Īs examples, look at the trees and see if you can find the next "lightest" colour. Start looking at the " intermediate" colours and tones in relation to the darks. Now we move on.īecause your darks are now quite solid, you have something to build on. I get the sky as close to finished as possible, knowing that I'll probably have to touch up some parts later. For me, I want to focus purely on that and not worry about overpainting something. Often the sky is a large area requiring some subtle shifts in hue and tone. Every time you paint, you improve your brush skills! Intermediate StageĪt this point I re-establish the sky. Never be afraid to build layers on top of one another. A second coat is a good idea for building "strength" in your darks. Acrylics on white canvas can often be quite transparent. ![]() The roughing in process is your first shot.Įvery layer after this is adjusting. Think of your landscape painting in the same way. But it's close - so you adjust your sights. ![]()
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