MATERIALS
• Cotton duck canvas, titanium primed single thick
• Selected acrylic paint
• Monte Marte Two
Seasons acrylic set
• Brushes – medium and line (Bristle : Taklon)
• Container of water
• Spray bottle of water
• Masking tape
• Damp cloth
STEP ONE
Working from several reference photographs I decide to paint a dry sclerophyll forest scene. I want to create a painting that captures the strength and beauty of tall gums and the atmosphere of a forest on a misty morning with the sunlight illuminating the trees. The scene I am painting is derived from bushland I am very familiar within the Brookfield area in South East Queensland area where I grew up and still visit frequently. I have taken many photographs of the area that I use as reference.
Working from the photographs, my memory and my imagination I decide on the composition for the work and paint directly on to the canvas. I select a simple palette as the colours at this time of the day are muted and subtle and there are few shadows. I keep a mental note of my colour mixes as I progress so I can accurately match the colours if I need more of the same colour later.
I start by painting the background, covering the whole canvas in light blue. I add a small amount of lavender – blending the two colours together to create interest and atmosphere.
I use a very light Burnt Umber wash to paint an impression of far background trees and foliage.
STEP TWO
At this stage I add some middle ground trees. An impression of middle ground is all that is needed at this early stage. To make the trees straight I use two strips of masking tape for the sides of each tree as a guide and paint in between them using Gold. I then add Burnt Umber and Ivory Black to add contrast. When this has dried a little I remove the masking tape.
STEP THREE
At this stage I begin to work on the foreground trees. Again I use masking tape to keep the trees straight. First I paint the trees Gold, then overlay some parts with Burnt Umber a nd Ivory black. I select gold to capture an impression of the sunlight illuminating the trees. I study the reference photographs and then start to create the texture of the bark and trunks.
Also, I add a light blue wash to the middle ground trees from Step 2, to make them appear more distant in order to add depth to the painting.
STEP FOUR
At this stage I add smaller foreground trees in front of the larger trees. I use strong colours here so the trees stand out – Ivory Black with a little Burnt Sienna.
I use a line brush to define the trunks of the large trees, particularly on the left side, with the light source coming from the right. I start to add the upper branches using a line brush.
I use a light wash of Pink and Light Blue to soften the background and middle ground and parts of the large foreground trees. My idea here is to add some atmosphere by creating the impression of the early morning misty atmosphere.
STEP FIVE
Using a light wash of Burnt Sienna I add more background and middle ground trees and branches. I use a fine line brush to achieve feathery, fine effects for the smaller branches and trees.
I add a small black stump, as a focal point, to the middle ground using Ivory Black.
I use washes of Yellow Ochre and Burnt Umber and to give an impression of the ground and undergrowth – lightly dabbing the area. As there are few shadows at this time of day I want a muted, soft tone.
STEP SIX
I finish the painting by overlaying Gold to the undergrowth area. I blend the Gold lightly into the background using a damp cloth to create a feeling of distance. Using Burnt Umber and Ivory Black I add some more texture and imperfections to the bark of the larger trees.
ARTIST’S HINTS AND TIPS
• Collect photographs and ideas for future works so you are ready to go when the creative urge strikes.
• Ensure you paint in good light. Natural light is the best.
• When using acrylics, if the paint is drying too quickly to finish off the area you are working on, lightly spray the area with water. Water sprayed over paint on the work can also create interesting effects, particularly for background areas.
• You can correct mistakes by using a damp cloth to remove paint, even if it has dried a little. Otherwise just over paint the area you want to correct.
• Be cautious when using very dark colours as your work can become ‘muddied’. If possible use very dark colours in small amounts. Replace your water and brushes frequently and thoroughly clean your brushes well before using new colours. Straight black can appear harsh so soften with Paynes Grey or Burnt Umber.
• Use warm water to thoroughly clean your brushes and to bring them back to their original shape.
• Don’t be afraid to experiment in order to achieve different effects, or if the painting isn’t going according to plan. You might be pleasantly surprised by the results. Experiment using different media, different papers and canvases, different brushes or even rollers and palette knives.
• Seek and consider feedback on your work. An independent observer may see an obvious flaw you may have missed or a strong point that could be further developed.
• If you get to a stage where you are ‘stuck’ with a painting, put it away for a while, then come back to it with a fresh eyes and renewed outlook and approach.
• Read art books and magazines to discover new techniques. Public libraries are free and stock a great range of how to art books.
• If you are stretched for time to paint, work on smaller works as these take a lot less time to complete.
• Practice as often as you can in order to improve.
• Enter your work in art shows. Recognition through commendations and sales can eliminate self doubt and give you renewed motivation.
