![]() ![]() I’ll start with the darkest shadowed area in the lower right. ![]() Now I need to decide where I want to reduce the sparkle of the white of the paper showing through. Using Sennelier light grey, dry-brush over the far back hills to reduce the high chroma of the purple and blue. Next I add dark green and darker orange-browns to the shrub areas and began laying the darkest shadow area in the lower right with dark purple, dark warm brown and dark blue.Īdd a hint of dark trunks to the solitary trees on the left. I create color groups of foliage and compose as I go so that the viewer’s eyes will be guided in a visual pathway around the painting and not get hung up on a strong focal point. This will keep the lighter colors pristine and remind me not to blend into those areas. I chose to lay-in the brightest, lightest yellows and greens first using stipple – pointillism strokes. Give a rough shape to the solitary trees on the left and the one wolf on the near shoreline.Īdd a few dots of yellow ochre where the sunlight is reaching a few trees in the background.įor the foreground, use darker hues and brighter chroma pastels, as this area is closest to the viewer. Scratch a few dead tree trunks into the paint in the areas where you did the orange-brown under layer. You can always layer darker color on top later if you decide to not scrape down to that layer later.Ĭomposition is key here: think groups of trees as family members in a group photo – some will stand in front and some will stand in back, but they will overlap into each other’s ‘space’ and create overlapping forms. Preplan where you are going to scratch-through to lower layers and get that under color down FIRST. Also using a deep orange-brown, lay in two areas for sgraffito technque. Using only medium greens and grey-green hues, paint in the trees on the far shore: paler and grayer green in the back and darker greens in the front. I’ll be able to evaluate this much, much better as the painting evolves elsewhere. For now, I know the value is correct, but the chroma (the vividness of the colors) is TOO high. As colors play off of each other, what initially looks correct will need to be adjusted. Wait until close to the end to do finals adjustments on this rocky escarpment. Do not over blend though, the idea is to maintain distinct color units of the rock formation. Using a little bit of OMS on a bristle brush, blot it nearly dry on a paper towel and stroke-blend the colors so that no white of the paper shows through. ProTip:ĭo not overblend! The mottled colors will give the illusion of far distance trees.īegin adding colors for the back hill using medium violet, periwinkle, medium grey, palest flesh and a bit of medium grey. Using the tip of a pointed palette knife or a dull blade, scratch small vertical lines into the area to suggest a few tree trunks. Blend with a stump until no white particles of the paper show through, using verticle strokes to imitate distant trees. Make sure to leave the area where the evergreen trees on the left will eventually be located. Using your pale lavender and pale grey-blue, lay the colors next to each other and on top of each other in random order. Blend with a stump until no particles of the white paper shows through. I’m going to use a watercolor technique of leaving the white of the paper for the whites of the water.Īpply the sky with a pale blue and blend it out with a few swipes of white oil pastel. Using a dry-brush technique, create the water with a light olive, a medium-light grey and a medium grey olive, leaving many sparkles of light. ![]() Lightly sketch in the rudimentary outlines of the landscape with a pencil. Follow along steps for your oil pastels landscape artworkįollow along steps for your oil pastels landscape artwork Step one:īecause I knew I wanted to use a granulated paper for the purpose of mottled color, I used Arches Oil Paper, which has a texture similar to cold-press watercolor paper. ![]()
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