Professional Documents
Culture Documents
Oil Paent g
The Art of
The Art of
Oi
al
Ing
CONTENTS
INTRODUCTION TO OIL PAINTING 5
8
10
12
Mission.Style Villa
The Dulcimer Player
Carmel Sidewalk
Hawaiian Harbor
Naulkal Still Life
84
86
88
90
92
Tropical l'alm
Rooster
Rustic SlilIUfe
Martini SlillUfc
18
20
22
H
26
28
Boulders in Snow
Birch Trees
New Engl:md B;IY
32
34
36
Fall Landscape
Desert Casita
Ccmrall'ark
PAINTING WITH ANITA HAMPTON, " ,
Spri ng bndscape
Roscs
CaMomia Coast
Ponr,.it of a C hild
Hendry Beach
40
42
H
46
48
50
52
54
,6
60
62
64
66
68
Doon\'a)'
70
3mu
72
74
76
78
80
82
96
98
100
102
106
Sunset Beach
California Coast
llO
114
115
116
11 7
ll 8
119
120
m
124
125
126
F. POWELl.,.,. 128
130
132
134
135
136
138
140
142
(HAPTE R
INTRODUCTION TO
IL
PAINTING
The rich, ver atil e art or oil painting ha captivated artists for centu ries and continues to be a favorite artistic medium. O il is a very
adaptable medium that lend it elf to many painting tyle - from
the precision of pho toreal ism to the freedom or expressionism. The
projects in this book are a collection o( lessons from some of the finest and most popular oil painting books publ ished by Walter FOSle r
Publishing. Each artist shares personal techn iques and insights for
mastering the medium. And because all these fine artists have developed their own special approach to painting, there are countless
lessons to be learned from their individual and distinct perspectives.
Learn [rom these artists' wide range of experiences and styles as you
fo llow them through a diverse presentati.on of subject matter and
instluction. Above all , have fun painting in oil!
I
5
Selectln, Support.
The surface on whic h you paint is (ailed the
"suppartM -generally canvas or wood. You can
stretch canvas yourself. but it's simpter to pur
chase prestretched, preprimed canvas (5tapled
\0 a frame) or canvas board (canvas glued \0
ta rd board). tf you thoose to wo,k with wood
or any other porous material. you must apply a
primer fir5t to seal the surfate so the oil paints
will adhere to the support (instead of soaking
through).
Oil painting brushes vary greatly in size, shape, and texture. There is no uni\"cT5:l1
standard fo r brush sizes, so they vary slightly among manufaelUrers. Some brushes
are sized by num b!. and others are siled by inches or fractions of inches. JUSt get
the brushes IhHtllre lIppropri~ue for Ihe size of your painlings Hnd lire comforwb1c
for you to work with. The six hrushes pictured below arc a good starting set; )ou
can always add to your collection later. Brushes arc also catcgorized by the mau'rial of their bristles; keep in mind lhat natural-hair brushes arc best for oil painting.
Cleaning and caring for yo ur brushes is esscntial- always rinse them Ollt well with
turpentinc a nd Store them bristle sidc up or fiat (nevcr bristle sidc down).
Basic Palette
Lrm(ln ydiow
C"doniam
rrd li!;hr
C"dmiam
)".110 ... Ii):",
Ali2"fln {"n,SOn
TUQI,iuon "hilt
Virramannt blut
11umr umber
Crrult"" blut
mack
I "-.I
__
4.!~
Medium Brisht Brushes are fiat with shorter
bristles and are perfect for scrubbing in foliage
or ueating texture.
UTILIZING ADDITIVES
Adding Mediums
In ad dition to the medium or thinner
you choose, be sure to purchase a
glass or metal cup to hold the additive. Some contai ners have a clip built
into the bottom that attaches easily to
your mix ing palette.
PICK I NG A PALETTE
Finishing Up
Varnishes are used to protect your
pa inting-sprayon varnish lemporari
Iy sets the paint, and brush-on varnish
will permanently protect your work.
See the manufactu rer's insl ructions
for app licalion guidelines.
Cleaning Brushes
Pu rchasing a jar that contai ns a screen or coi I ca n save some time and mess.
As you rub the brush against the coil, it loosens the paint from the bristles
and separates the sediment from the solvent. Once the paint has been
remove d, you can use brush soap an d warm (never hot) water to remove any
resi d ual paint. Then reshape the bristles of the brush with your fingers and
lay it out to dry.
Paper towels or lin t-free rag are inval uable ; yo u will use them lO clean your tools
and brushes , and they can a lso be used as
pain ting loo ls LO scrub in washes or soften
edges. Some type of paint box is also useful LO hold a\l yo ur materials, and you
may wa nt charc oal or a pencil or sketching. In audition to Lhe ba it: lools, yo u
may also want lO acqUire a silk sea sponge
and an old LOo lhb rush La render special
effecls. ven th ough you may not use
Lhese additional ilems for every oil painting yo u work on, il' a good idea to keep
them on hand in case you need them.
Selecting an Easel
CheckUst of Basics
At right is a list of the materials you'll need to
purchase to get started painting in oils. (For
specifics, refer to the suggested brushes and
colo rs on page 6.)
Easel
Supports
Paper towe ls
COLOR THEORY
color wheel can !>t- a handy visual rcfcn:ncc for mixing wlors. AlIlhc colors o n lhe colo r whed arc (lc rivcu from lhe
three primm)' colors (yelluw, red, and bl ue). The saom/ur)' wloTs
(purple, green, and orange) are each a combination of two primaries, and Icrlill'Y colors arc mix[ures of a primal)' and a secondary
(red-orange. yellow-orange, ye llow-green. blue-green, blue-pu'lJle,
and rcd-purple). Complflllfll/CUY ('olors arc any two wlars directly
across from cach Olh er on lh e (olo r wheel, and (In(l/ogous colors
arc an)' three colors adjal:cnt on the color wheeL When diswssing color theoT)" lhere arc sc"crallcrms that arc hclpfullU know.
Hue refers to the color iLSelf, such as red or yellow-green; [meUS!ly
rdeTS to Iht sirength of a color, from its purc Sl:ltc (right OUI of
the tuhe) 10 one Ih:ll is grayed or diluted: and value refers (0 the
relalivc light ness or darkncss of a tolor or of bl:lck.
Tint
(Added White)
,'dIOM!'
Cad,nium
rrd IIghl
~
Color
purplt
l'u'I"(
Color Wheel
lfmonydlow
Knowing the fundamentals of how colors relate 10 and interact with one
another will help you create feeling-as well as inlerest and unity - in your
oi l paintings. You can mix just about every color from the three primaries,
But all primaries are not created alike, SII you'U eventuaUy want to have at
least two versillns of each primary, one warm (containing more red) and one
cool (containing more blue). These two primary sets will give you a wide
range 01 secondary mixes.
VALUE
Alizarin crim5011
The v:lriat ions in value throughout a painting are the key to creating thc illusion of depth :lml form . On thc color wheel, yellow
has the lightest value and purple has the darkest v:llue. You can
change the value of any color by adding white or black (sec the
chart at left). t\dd ing white 10 a pure color results in a lighter
value [inl of that color, adding black results in a darker value
shade, and :ldding gray results in a wile. (A painting done with
tilliS, shades, and tones of only one color is called a IIlOllochro
malic p:linting.) In :l painting. tht vcry lightt'st \'alues arc the
highlighls and the very darkest values arc the shadows.
COMPLEMENTARY COLORS
Bumt umMr
As st:lted above, complements arc any two colors directly opposite each other on the color wheel. such as red and green. yellow
and purple. or blue :lnd or:lnge. \Vhen placed next to e:lch Olhcr.
complemcnt.1Ty colors create visual interest, but when mixed,
the}' neutr,llize (o r "gray") one :lnother. For example. to neutralize a bright red, mix in a touch of its complement: green. By mixing varying amounlS of each color. you ('an create a wide range of
neutral grays and browns. (In painting, mixing neulrals is prefer.
able to usin g them straight from a tube; neutral mixtures proVide
fresher, realistic colors that aTe mOTe like those found in n:ltUTe.)
MIXING COLOR
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Lemon
yellow
Cad",i"",
red ligllt
Cuuleall
blue
Ullmmarinf blile
Bunu
II",be!'
Sladl
DRAWING TECHNIQUES
rawing is ,m an in itself. It is also aver)' importanl pan of
pll inting---cvc n ui l painting. Yuu' ll often need a light guideline of Ihc shape and form of thc subject 10 SIan an o rganized
o il painting. (An unorganized form of palming would be the
free flow of color in nOlln::prcscnt:nional masses.) Your drawings
don't need !O be lighl and precise as far as geometric perspective
goes. but they sho uld be within the boundaries of these rules for
a rcalislk portrayal of the s ubject.
Drawing is a(wally simpk; jusl sketch thl' shapes and tht; masses
rU li sec. Sketch loosely and freely-if you disco,'cr something
wrong with the shapes, yo u can refe r to thc rules of perspective
to ma ke corn.:clions.
\0
a projcClor.
Fo llOWi n g arc a few exercises 10 introduce the basic elements of
drawing in perspel:tiy e. Begin with the one-point exercise.
Th e bo tt om, top, and sides o f the face arc parallel to the pic-
ture plane.
VI'
'"
I
B. Draw guidelines to each VP from
the top and th e bottom of the verti
cal line. Qraw two more vertical tines
fo r the bac k of the sides.
>'
C.
Ne~t, draw a line from the other tOrner as shown; then draw a horizon tal
lin e to esta blish the batk of the bo~.
/"'-
"-
,p
/~
"-
BASIC SHAPES
There are four basic shapes you should know: the cube , the
cone, the cylinder, and the sphere. Each of these shapes can be
an excellen t gu ide for begi nn ing a co mplex d rawi ng or painting.
Below are some exam ples of these shapes in simple use.
Line
Cone
Cylill"rr
Siladcd
ocrmo ~
To VP. _
. -----~C~~
Notice the use of eyelevel VPs to
establish planes for the ellipses.
FORESHORTENING
CAST SHADOWS
As defined in Webster's dictio nary, to fores honen is " to represent the lincs (o f an objec t) as shoner tha n they ac tually
are in orde r to give the illu ion of proper relati ve size, in
accordance with the principles of perspective." Here are a few
examples of foreshorten ing to practice.
When there is only one light source (suc h as the su n) , a ll shadows in the pictu re are cast by tha t single ource. All shadow
read fro m the same vanishing point. T his point is placed directly
under the ligh t so urce, whether on the horizon line or more forward in the picture. The shadows follow the plane on whic h the
object is silti ng. hadows also follow the comou r of the plane on
which they are cast.
UgI" so~"ce
Awwl
... idtlt
Shadow lIP
VP ~--_ _ _ _ _ _-,'C-_+-_+-_~t-
_____ --,V.p
PAINTING TECHNIQUES
OU (:In paint wiLh a variety of lOols and tcdmiqul's. and there
arc many difkrcnt ways to approach a blank suppor t. Some
artists begin by lOlling the support, or covering il with a thin
wash of color. This underpainting provides a base to build colors
on, and it is sometimes even allowed to show through in places
in Ihe final painting. Using a loned support can help you avoid
ending up wilh "holes" in the nOli! pieu: thaI somehow didn't
gel paillLed . Generally a lOlled background is a fairl y neutral
color; warm colors wor k well for carth-toned subjects. and blue
KnlfeWoril
Impilsto
St.umble
Mpull w off the knife. You can also use this effect to
blend wh)rs directly on your support.
Smeilr
Senteh
SliIlh
Drill
"
Sponce
Spatter
Stlppte
Scrape
W1pa Away
Soft Blend
.,
14
(CONTINUED)
Drybrush
This woodgrain effect was created with a drybrush
tech nique. load a dry brush with thick paint (no
paint thinner) and lightly drag it across the canvas
to create broken, textured strokes.
Thick Paint
To make this loose blend, load the paint onto the
brush and apply it fairly thickly, continuously chang
ing color mixtures and stroke directions.
Foliage
Puddles
Clouds
Mountains
Bark
Details
Depth
Glazing
Th is is an example of
glazing. or stroking
ove r a dry layer of paint
with a thinner layer to
bu ild up color. Thin the
paint w ith med ium, and
d rag a soft brush lightly
ove r t he area.
15
CREATING LIVELY
FLORAL STILL LIFES
ost fo lks want to paint flowers
be 'aus' they're taken by the freshness and bti lliance of the colors. To capture th eir shon-l ived beau ty on canva
almost seems to defeat time. Oil paint is
an ideal medi um for creating flowers' colors, whether delicate or vibranl. It is also
excellent for depicting the varied textures
o f soft petals and crisp foliage. lysclf, l
like the compositional challenge o f painting bouquets and setting up imaginat ive
still Hfes.
just nne.
FINDING BALANCE
Adding Movement
I chose a view looking down al the setu p 5 0 there wo uld be plenty of movement (from the teapot up to the
bou quet and down agai n to the flowers on t he table). Note all the di fferent flower pOSiti ons; no two are
angled exactly the same .
18
Starting Lean
When I pal nted these
leaves, I started with
a "lean" layer of
relatively th in
paint to establish
a good base color.
Building up
Fat
I used my palette
knife to build up
"fat' color with
stro kes of very
thick paint, being
sure to leave
hard ridges at
the edges for extra
dimension.
Once I have my nowers displayed to my liking, I look for patLerns , not individua l peLals. Otherwise, iL'S too easy Lo get bogged
down in Lhc deLails and 10 e the "whole piClUre." Fir LI roughly
paint in the omline of the entire shape of the anangement. Next
I block in th e basic circle or oval shapes of the blossoms. I usu'llly start wiLh la rge areas of thin color, gradually building up thicker color and finer details. This process
called painting "fat over lean " (see he captions fo r the leaves on the opposite page).
Anothe r technique, callcd "i mpa LO " ( ce
page 12), can also be used to add ridges
lO lhe edge of a pClal or leaf. J don't work
thickly right away, tho ugh, because thick
paint takes a long time lO dry.
Working Quickly
I pai nted t his alia
prima, or all in one
session, si nce fresh
pansies don't last long.
Painting this way gives
a fresh and spontane'
ous feel.
19
RENDERING
SEASONAL TREES
enjoy painting trees because there
are so many dirf' rent type and they
change dramatica lly wit h each season.
Experiment pain Ling a VarieL)' of Lree
shapes-spreadin g oaks, columnar poplars , conical firs, twis ted olives, and
fanlike p'llms. Choose one or several of
yo ur favorites and make them the focus
o f your painting. You will d iscover that
Spring Palette
",/tite. alizarin
Middle value:
w/,ile alld aliZalili
cfimsOJI
Light values:
",hilc. violel , aJl(i
ali<(Jril. crimsou
Summer Palette
Autumn Aspens
For the fall foli age here, I used mixes of burnt
sienna, cadmium yellow light, an d cadmi um yellow
med ium, with touches ofviolet.The warm colors are
dazzling, but I think that the peeling bark is just as
interesting. To paint the bark, I used a flat brush to
make short, horizo ntal strokes t hat fo llow the curve
ofthe trun k.
O"rk v,,'ues;
buml sielllw, cobalt blue,
vilidiOlI green, alld quinacrl
dOllc violel
Middle values:
yellow ochre, burlll sirlilla .
,.iridian green, and
cadmiulII )'elloll' lIle,UIIIII
Autumn Palette
Dar/, yaille :
.,ienml
bHnlt
pltls spedlS oj
(Iii ~al'in crhn5QII.
C{Jdmiullt u'OIlg ,
alld violel
cadmium
"llIs a pc II
oj l.ilGllitllll
pillS a sped/
white
oj yiolel
20
l..Igll! yalues;
cadmiu,n
yellow liglll and
we/llli","
yellow lIIedilllll
yellow light
Summer Cottonwoods
Th e huge canopies of these trees almost hide their trunks and branches! Summe r
leaves are painted w ith a lot of greens and blues, with yellow an d wh ite for high
lights.
light values:
cadmium yelloll" li~ht
plus w/lil, (/u<l
viridj(1I!
gr,,"
Winter Palette
Ughl "nlun:
mi,IIII(."due ,,,I,,rs
pili' a ,p<'~ m",~
cadmium ""''''gf
and lif<lni u,n "'hilt
Middle mllU'$.
bum! Sienna,
yell,,><, IXh,t. (1",1
cwlmillm ,,"(In);'
Dat~
.alues.
blum sienna
Wid i"ory black
CHANGING SEASONS
.... inllnlSnow
Snow reHeets the (olor of its surroundings - so if it's a brigh t, sunny
day, as it was the day I painted the scene be low, I add yellow in the high
lighte d areas. t apply pale blue in the shallow indentations and a darker
blue gray in the dee pe r footprints. Since the snow surface is not Hal, t
vary the size, shap.e , and dire<tion of my strokes to emu late the drifts.
CAPTURING WATER
WITH BRUSHSTROKES
varied in mood and form, water can be both expressive and
imrigu ing-and oil painL is part icularly well- uiLed for capLuring its multiple persona lities. By varying the size and d irection of
m)' bru h Lroke and apply ing diffcrelll Lhickne es of paint, I can
convey many of the fasc inaling qualities of water. For example,
when I apply thick paint with de li berate, swirli ng strokes , I can
create the turbul ence of a fast-moving river; when I make short,
choppy strokes with a bListle brush, I can depict the anger of
a stormy sea; or when I smooth ly blend with a so ft-ha ired nat
brush, I can mirror the serenity of an alpine lake.
Water rel1ects the co lors and images of the clouds, sky, and surrounding landscape. There arc also waves, shadows, and the
colors of the water itself to contend with. My advice for painting
water is to edit and simplify it; don't attempt to faithfully render
every ripple. Another tip is LO paim with a larger brush than you
would usually use, because it will force you to paint in a very
loose, interpreti e way-just what is needed to capture the freedom and movement of water.
Painting Reflections
Moving water reflects; it does not mirror precisely. When I painted the reflec
tions and sha dows of the waterlilies, I did not exactly match the colors and
shapes of t he actual plants. Instead I painted the reflections with blu rred edges
and darker co lors.
Creating Depth
I was fortunate the day I painted this ocean scene. A mist shrouded the deta ils and left the trees and rocky coastline outlined -nature had simplified the shapes for me. I avoided overblending the blue and white of the water close to shore, so
that the ridges of paint would appear to be waves.
22
Oil paint dries slowly, a q uality I ofte n lry to use to my adva ntage when painting waterscapes. I can "push" the paint aro un d ,
ligh tl blend ing together adjacen l wet <.:Olo rs. Thi work e pecially well when depicting wave ac tion in the distance, where the
co lo rs are mu ted and the wa ter is smoot her. I blend the pain t
less in the foreground because 1 want the colors and b rushstrokes to remain clear and vibrant. Of course , when moving
pa in t arou nd, lhere i also th e risk of churn ing up the underlying colors, whic h is somet hing to be avo ided as it makes for
muddy colors.
Rendering
Still Water
I wanted th e
cloud re flectio ns
in the la ke to be
Ihe focal poi nt of
my painti ng, so I
framed the m with
the curve of the
shoreline and the
foliage in the fore
ground. The viewer
sees more of the
dark undersides
of the clouds and
only a glim pse of
the light tops in
the water reflecli on. Th e water
appears t o be still
and glassy, in
part beca use the
refl ectio ns of the
sky an d trees are
u ndistort ed.
23
UNDERSTANDING LIGHT
Three-quarter Lighting
source
Back U.htln.
Because you can't see the strong highlights when the subject is backlit, it's
SQmet imes difficult to tell just whe.e the light sou.ce is, The sketCh at .ight shows
that the light is coming in from the window behind the noral still life. can you
see the subtle -halo" effect around the flowe.s? I especially like the way the
back lighting casts shadows across the foregrou nd. giving this arrangement stat
ure and drama.
Li ght
so urte
RENDERtNG REFLECTED Lt G HT
Side Ul hllnl
The strong side lighting, illustrated in
the drawing below. reaches into the
Shadows and allows me to Show the
colors of refletted light as it strikes
the forms of the trees. The birch on
the far right reflects the cool blue of
the sky and the crooked trunk on the
left shows the refle<ted colors of sun
lit leaves. These subtle touches really
bring the subject to life.
Front Ughling
A direct f,ontallight source (see the
diagram below) illuminated the baby's
blanket and created lovely highlights
on the mothers face . bringing these
elements to the rorefronl. Front light
ing also eliminated virtually all <ast
shadows, which accentuated the col
Drs of the variouS fabrics and kept the
mood of this mother and child paint
ing light and tender.
Ught
source
'5
,6
Contrasting Colors
This landscape, with its icy, rutted road catching the colors of sunset, uses a com
plementary color scheme (see page 8) of yellow and purple. The yellow of the sun
provides the only bit of wannth in the chilly lavender expanse of the scene.
Establlshln s th e Form
To ueate a serious mood for my pain t
ing 01 a Civil War soldier, I chose a
monochromatic blue color scheme. I
~gan by outlining the general sha~s
and masses to help me place the light,
medium, and dark values.
Serlouslv Blue
I continued to use different vatues of
ultramarine blue to create depth and
add detailS. Hotice that the whites
of the soldier's eyes are not painted
white. They are shaded by the hat.
so pure white would be unnaturally
bright. The overall mood 01 this mono
chromatic portrait is somber-intentionally so .
'7
FOCUSING ON FACES
've saved the best for last. The human face is a natural focus
for o il painting. with no two cX[lclly alike. And the spcdal
appeal of childrtn is univcrs..11-yoll had bctln catch them while
rO ll can; they grow up so fasl! Whether you choose 10 pain!
someone you know or a model, achieving a good "likcncss ~ is no
diffcrCIl1 than painting a land scape or a still life. Closely observe
the subject, get the proponions correct, and pay attention to the
shapcs. planes, ~md shadows. NOl hard atH]]!
A CHILD'S PROPORTIONS
Brow
Chin
Choosing the Pose
I painled this shy todd le r reaching for a flower as an informal portrait. I chose to
downplay her facial features and instead emphasized the pose-one that cap
tures the (uriosity of youth .
AN ADULT'S PROPORTIONS
~kasllring from Ihe lOp
of the head 10 the ch in.
the eyes aTe at Ihe halfway
mark. Place the bottom of
the nose halfway hetween
the tytS and thc rhino
-~'--I--'
-
TelUns a Story
I like to paInt portraits that are a ~sli(e ollife~ - Ireezi ng the moment a nd the
movement midstride.1 used delicate (olors for the young girl's and baby's doth
ing to stress the ch ildren's youthfulness and innocence and to help keep the
overall mood of the painting light
"
I,
USING VALUES
The value scalc shows the diffe rent values of ult ramarine blue
I needed to mix and where I used them on the face. I find it
easier to mix a range of colors I think I'll need before I pain\.
That way t don'( bave to Stop painting and mix my paillls
e\'ery time I need a new tolar.
'9
(HAPTE R
PAINTING WITH
OHN
LOUGHLIN
John Loughlin, a New
Island , and was known [or his oil paintings, wa terco lor pain tings , drawings, and fine art prints. Specialized in capturing the
natural beauty o[ the
31
BOULDERS IN SNOW
STEP ONE
STEPTWQ
STEP THREE
Und ercolor
6lack. Ma~ violr( ,
and wrpcn!inr
'"-
STEP FOUR
RockS
Blach and
Naple$
)dlo ... light
,-':"ple'>tll" ..
light and ch",
mium
o.~idc
3'
grrtn
STEP FIVE
To de~elo~ the textllre of the rocks, I use white
to lighten the rock mixture<; from step 'ou r
and then apply the colors using short, choppy
strokes. I leave areas of darker gray showing
through here and there to emphasize the
mottled (olor. I also add more veUow lea~es
throughout the composition. Then I retouch the
sky and make il more colorful wilh addilional
touches of phthalo btue and white.
STEP S IX
Now I step back from my painting so I can see
where it needs more depth and detail. I deCide
to add some lighter branches to the trees using
a mix of burnt sienna, black, and white. Then I
highlight some of Ihe trees wilh a light green
mix of chromium oxide green and yel(ow ochre.
Finally I punch up the ~iolets in the dark areas
with a combination of cobalt violet, alizarin
purple, and a little white.
33
BIRCH TREES
STEP ONE
STEP Two
STEP THREE
pentine to tone Ihe entire canvas. Once this underpainting is dry. I sketch the composition with soft
STEP FOUR
STEP FIVE
STEP SIX
S TE P SEVEN
35
=
STEP ONE
I begin by (overing the canvas wilh a very ligh t wash of
cobalt blue and burnt sienna thinned with turpentine .
I use vine charcoal pencil and approach my sketch as
a basic outline for where I want to place the colors. I
concentrate on capturing the areas where the values
(hange throughout the sky, outlining the shapes of the
STEP Two
Once I'm happy with my sketch, I retrace the Outline of
each shape with a sma ll round brush and a thin mixture
of black and Mars violet. Then I apply all my darkest val
ues. At this stage, I'm still working on my underpainting,
filling in the rocks in the foreground and the rest of the
land in the distance. Even though the rocks appear to be
pure IJlack, I add Mars violet to the mixture to keep the
color from becoming too inky and nat.
Dal1l Values
BIMk mid
Mars ,-jolrr
---
~
STE P THREE
Now I paint the sky wilh a mix of cobalt violet and while.
stroking horizontally with a small filbert bristle brUSh. I
mix (Nulean blue, viridian green, and white for Ihe lower
patches of blue sky and Cleat!! the brighter blue patches
of the upper sky with cobalt blue, a very small amount of
phthalo blue, and white. For the grays in the upper part
of the sky, I mix cobalt violet and white. Then I blod in
the Clouds with a mix of while and Naples yeUow light.
Upper Sky
STEP FOUR
Now 1IJl0ck in the ocean, (overing most of the water area with a mixture of viridian green, phthalo blue,
and cobalt violet. I add a few dark patches of cobalt blue, cobalt violet, and viridian green. To suggest
movement in the water,l add light blue streah of a cobalt blue and white mixture. I paint the surf
around the distant headland and foreground using pure white. varying between thick and thin brush
strokes to create a realistic impression of texlu re and motion in the tide.
C<>bah blue
cabal! "jo/(,
Lower Sky
HoriitOn
Viridian I:rall
Cuball ,-iolel
and ,,-hil,
,6
STEP FIVE
Now I add highlights and details to
the rocks and distant land furms. With
a mi~ture of Naples yellow light and
yellow othre, I work in the lighter tex
tures of the foreground areas. Then I
mi~ Naples yellow light and cadmium
orange barium for the hIghlights of
the middle ground and the land in
the background. I lighten the farthest
plane of land significantly to empha
size the sun's high midday position
and the illuminated horizon.
Foresround
OI,I,nl
HIShUChu
HIChUShb
"'('plr~ )tlluw
",'oplnyrl/..,,'
light (1",1
c<U/II,ium
om"J:t barium
liglu ""d
)'tllo,.. .xhrt
STEP SIX
Whe n I step batk and assess Ihe painting,. decide 10 adjust some of the colors.
Although I'm happy wilh the totors I chose i n the sky, I want 10 sharpen the
wntrast by changing some of the values. I deepen the darkest values by adding
more pigment, and I add more white to the lightest values. I also decide some
of t he va lues in the ocean are too light and tha t the surf needs to ~ brighter,
so I add deeper shades of the ocean mixes and then brighten t he surf with pure
while,
STEP SE V EN
FOr Ihe finishing
touches, I use my
small bristle fil~rt
to add a little more
detail to the dis
ta nt headland and
in the foreground.
for the details in
the distance, I use
Naples yellow light
with a louch of
cadmium orange,l
mi~ Naples yellow
light, yellow ochre,
burnt sienna, and
black and lightly
brush on some
fi nal touches of
lHtu re to the fore
ground.
"
CHAPTER
PAINTING WITH
MICHAEL
OBERMEYER
A native of southern CalifolTlia, Michael Obermeyer received a
Bachelor of Fine Arts degree in lllusnation at California State
University, Long Beach. Some of his paintings are featured in collections in the Smithsonian Ins titute and the Pentagon in Washington ,
D.C. He recently received the "Award of Excellence" from the La
Quinta DesenPlein Air show and the Gold Medal at the Carmel
Art Studio. Michael is a member of the Oil Pain ters of America, The
California An Club, The
rud io.
FALL LANDSCAPE
STEP ONE
STEP Two
Using a light wash of ultramarine blue,l draw the scene on the support with a
small brush, using my field sketch as it re ference. I'm nol concerned with details
Using flat s.able brushes. I block in the basic shapes 01 the darllest trees, starting
with the warm. intense {olors and values in the lore ground. I use a mix olviridian
green, cadmium red light, and ultramarine blue. keeping the darkest values in the
trees so that the contrasting warm (olors around the trees will appear to ~pop~
forward.
at this point - this is just a quick layout \0 outline the major elements. I also indio
call' the visual path [In this case, a litera l path] that will lead the eye toward my
STEP THREE
Poor Dest i n
Good Desl,n
STEP FOUR
With a large flat brush, I paint in the sky with a mi~
ture of cerulean blue, cadmium yellow light, virid ia n
green. and a lot ollilanium white. I combine ultra
marine blue, alizarin crimson. and white 10 dab in
the dark areas of the low douds. For the sunlit areas
of Ihe clouds, I use a mix of cadmium yellow light,
alizarin (timson, and white, painting right up to the
edges of the trees,
Sky
STEP FIVE
Now I add details to the trees with a small flat brush, softening the edges as I
work. I use the COlors from step three and work all over the trees, never spending
too much lime in one area.The n I add the tree trunk!; and the finer details in Ihe
foreground grass with a rigger brush. This brushwork is tighter and the edges are
sharper Ihan Ihose in the IhKkground, whkh helps bring attention to mV local
point.
STEP SIX
Finally I slep back and take a look at my work. I check to see whelher any of the
values need ad justment and decide to add some colorful flowers in the fore
ground to anchor the viewer's eye at the left of my composition, where the focal
point is located. With a rigger brush and a mix 01 cadmium yellow light and
white.llighUy dab in Ihe bloss.oms. taking care to keep them in proportion with
Ihe rest of the elements in Ihe landscape. I step back to assess the painting and
decide that now I'm happy. The most diffiw1t part is knowi ng when the painting
is finished and putting the brush down!
4'
DESERT CASITA
STEP ONE
STEP Two
I u~e a light wash of ultramarine blue to loosely draw my wmposilion on the <an
vas. I keep Ihe paint thin 50 I can easily rework or adjust the sketch if necessary.
Next I block in the rest of the baSic shapes, working from the warm lones in the
Then I use a large nat sable brush and bold, quick brushstrokes to block in the
darkest areas wilh a thin mix of ultramarine blue, alizarin crimson, and a touch of
yellow light, cadmium red light, and white. I use a large filbert and block in the
vilidian green.
STEP THREE
Now I paint the stucco with a thick
mi~ of white and specks of cadmium
yeUow light, cadmium yellow deep,
and alizarin uimson. Using a small
flal brush, I dab in the shutters with
a mixture 01 cerulean blue and a little
ultramarine blue. I create the shad
ows on Ihe side 01 the house with a
mix of ultramarine blue. alizarin crim
50n, and white.
Stucco
-
House Shadows
Flndlnl . Focus
By making some quick thumbnail sketches 01
a subject, you can determine the emphasis of
the 5(ene. Here you (an 51'1' how th ree different
formats 01 the same scene each have a slightly
different viewpoint.
front to the coollones in Ihe back. I painllhe tree trunk with a mix of cadmium
tr~s
and crass with mixes of uUramarine blue and cadmium yellow deep. Then I
STEP FOUR
Now I begin to work all over the painting with a
small flat brush, building up thick highlights and
adding a variety of brush strokes for interest. I refine
the shadows on the house with a small filtJ.ert, keep
inS the edges soft. Then t paint the moun tains in the
background with a m i~ of white, alizari n crimson,
cadmium vellow deep, and a touch of ultramarine
blue, add ing more ultramarine blue and a touch of
alizarin crimson for the Shadows. t paint the roof
with small flat brushes and a mi~ of cadmium vel
low light. cadmium red light, cadmium vellow deep,
and a touch of ultramari ne blue. I also paint in pure
alizarin crimson for the base color of the flowers.
Hower,
STEP FI VE
For the shadowed flowers. I add ultramarine blue to alizarin crimson. I paint
highlights and details in the flowers USing aliza rin crimson and cadmium red
light with a touch of white , dabbing the pain t on with small flats and brights.
I mnve amund the painting, adding details to the mnuntain. tree trunk, plants,
mnuntain, and shadows. Ne~t I apply highlights to the shrubs with a mi ~ of the
original color plus more cadmium vellnw light. t paint more details on the palm
trees. keepi ng their edges softer tha n those of the foliage in the foreground.
Finally I add details on the windowpanes with a small brush and a mix of (eru lean blue and a small amount of ultramarine blue.
CENTRAL PARK
STEP ONE
I quickly sketch in my
Focusing on Shad_s
This snapshot captures the natural, delicate
balance between light and shadow in the
SlIadowed StrH t
STEP Two
With a thin
mi~
01 ultra -
STEP THREE
STEP FOUR
li~hr
STEP FIVE
With small nats, I work throughout the entire painting. adjusting values as nec
essary and adding branches an d a bit more detail to the trees in the foreground.
With the same smatl brushes, I continue developing details on the bridge, the
curbs, and the nowers. I include a little more detail on and under the arch of the
bridge, keeping the edges sharp to draw some attention there. t place the
signpost and refine the tree trunks, but I try not to overwork anyone area of the
painting and avoid putting in too much detail. t step back to assess my work
again and de<ide that the contrast between the sunlit patches and the cool shad
ows is well balanced; my painting is done!
45
HAP T E R
Anita Hamp ton has been painting for mos t of her life. Although she
has studied under renowned instructors and at various colleges,
she considers herself primarily selr-taught. Ani ta is considered one
of the leading plein air painters in the United States, and her wo rk
has been published and exhibi ted in museums, galleries, and major
private collection around the world. he i a ignature member of
the California Art Club and Laguna Plein Air Painter of America ,
a well a Oil Painter of America. An ita won the 2001 F ranklin
int Award in the Oil Painters of America National Exhibition and
was one of e ight artists invited to attend the Plein Air Painters of
America exhibition in Catalina , Cali fornia, in 2002.
SPRING LANDSCAPE
STEP ONE
Sky
and cadmium red light, gradually adding more color with cObalt
blue, cadmium fed light. cerulean blue, and ultramarine blue. Then
I (over the distant mountain range with a mi~ of white. ultramarine
blue. quinacridone rose. and a !!luch ofyeliuw ochre. I carry the
color through the trees to the right of the canvas, SO the moun tains
don" seem to dmp off into space somewhere in the middle of the
painting.
sTEPTWQ
I create Ihe dark foliage wilh a mix 01 ultramarine blue, viridian
green, burnt sienna, and a little yellow och re. I block in the center
01 interest (the large tree), warming the upper left where the tight
fallS wi th more yellow och re and a touch lIf cadmium red light. FlIr
the shadllwed right side. I cool the mix with viridian green and a
lillle burnt sienna. I adjust the mixes as I paint the outlying foliage,
often changing the dominant darlc color. 50 the foliage is made
up nf a variety of greens. This color varialinn is true tn nature and
makes a mnre realistic painting. As I paint Ihe backgrnund trees at
the top right, I allow some light color from the sky to mix with the
dark paint and then I blend it with light, feathery strokes (but not
too much. or th .. color will look ~h alky!).
STEP THREE
I blnck in the mountain directly
behind the tree with a mix of while.
viridian green, cadmium red light, and
yeUow ochre. for the background, I
wanllO show that the land recedes
into the distance, 50 I use a cooler
mix of white, cadmium yellow pale,
phthalo yellow green. and tnuches of
cadmium red lighl and cerulean blue.
The banks or the bay have more cad
mium red light and cerulean blue with
a touch of yellow ochre. Because the
eye is drawn 10 brighler colors and
warm colors ~pop~ forward, I warm
the colors around the large tree to
draw allention In it.
Mountain
Dark Tree
MH .
STEP FOUR
STEP FI V E
Illaint the left bank with a mix of white, cadmium yellow Ilale, cadmium red light,
and cerulean blue, darkeni ng the mix as I work downward. Then I lay in the renee
tions of the dark tree with horiwntal strokes and a mix of ultramarine blue, virid
ian green. burnt sienna. and a little yellow ochre. For the sky's reRedion. I mix
white. (Dbalt blue, yellow ochre. and cadmium red light, gently blending the light
and dark colors together.
I was inSllired to Ilaint this sky by the stormy weather condition that formed
magnificent clouds in a c'Y!>tal clear atmosphere; the colof5 seemed to POll out
of the sky! I start by allillying more color in the Ull()er sky, using vertical strokes
to mirror the vertical strokes in the water. I use basica lly the same colors I used
in stell two but with fewer grays and whiles. I make the blue sky darkest at the
top. lightening and warming it toward the horizon.
STEP SIX
49
ROSES
STEP ONE
STEP Two
I block in the darkest values of the leaves with a
mixtu re of sap green, transparent oxide red, and
coba lt blue. I fu rther develop the darkest values
with varying mixes of a little phthalo yellow-green,
rose, cad. red light, and cobalt blue added to the
original green mixtu re_The vase has more red with
only a little green, and the leaves have more green
with only a little red. For the apples, I mix rose,
transparent ox ide red, and phthalo yellow-green.
Next I block in the Shadows on the cloth with a mix
of white, coba lt blue, and transparent oxide red. I
want the cloth to have rich variation, 50 I create several shades of t his mix by adding varying amounts
of cad. red light, ce rulean blue, yellow ochre, and
cad. orange. For the candleholder, I mix white, rose,
coba lt blue, and a touch of yellow ochre .
50
STEP THREE
STEP FOUR
Now I paint the roses with a small flat brush and a basic mix of rose, transparent
oxide red, Indian yellow, an d a touch of phthalo yellow-green. For the flowers
on the righ t, I warm the mix w ith cadmium red light or cadmium orange. For the
flowers on the left I cool the mix with rose, co bait blue, and a touch of white. Fo r
the warmest gray versions of the mix, I add a little cadmium yellow light, Indian
yellow, or cadmium orange. Next I block in the light spots on the tablecloth
around the vase with a mix of white, cobalt blue, transparent oxide red, and cadmium yellow light.
I warm the petals on the right with different mixes of wh ite, cadmium yellow
light, cadmium orange. and a litt le cadmium red light . The n I mix rose. cobalt
blue, and transpa rent oxide red into some of the shadowed petals in the center
of each rose, blend ing the color with light strokes to soften any hard edges. For
the highlights, I mix wh ite, rose, and a touch of coba lt blue. I paint the leaves
on the left with white, cobalt blue, and a touch of yellow ochre. For the warmer
leaves on the right,l mix white, cadmium orange , phthalo yellow-green, sap
green, and tra nsparent oxide red . I paint the stems with a mixture of white, rose,
cobalt blue, and a touch of yellow och re.
FLower hH
(Center)
Cool Flo_f$
Whu,. "05f.
(Left)
1J~l'( ~ ''')l'(
~ nd
Warm flowers
(Rlsht)
(Cw.. um"g'
Bas .. wh'le.
Leif Bne
STEP FIVE
I use a variety of g ray mixes to develop the doth and background. For the darker
areas of the background and the folds in the tablecloth, I use milles of cobalt
blue, transparen t oxide red, cadmium orange, phthalo yellowgreen, and a little
Venetian red. I add touches of lighter Colors to the background with white. wbalt
blue. rose, cadmium olange, and a liltle cadmium yellow light. Where the warm
artificial light falls on the table, I add cadmium yellow light and cadmium orange.
"f/lng(
(Center)
Cool Leives
(Left)
Wirm Leaves
(Rlsht)
Bas<' '' ",hiu. cadm ,u ,n
omngr . Qll d ph lhalo
}(I1,,""grern
Bast .. white,
cob~1 1
B ~se
.. ,,hur. Vrnnian
H",r ..
,,'
STEP SIX
5'
CALIFORNIA COAST
---STEP ONE
STEP Two
STEP THREE
Water Mldlones
UIIO~n"',iM
blu(,
Headland
r""tJli~m
Foam Hilhlilhts
,t,/Iighl.
un"!p<"'c~ 1
5'
STEP FOUR
STEP FI V E
I paint more midtones in the waler and then apply the light color on the rocks
wilh a mix of sap green. transparent oxide red. yellow ochre. and cadmium yel
low light. I darken the foam wilh a mix of while. cobalt blue, quinacridone rose.
cadmium yellow light, and a louch of cadmium red light Then I paint the douds
with a mix of white . cadmium yellow pale, and cadmium red light, blending
slightly to create soft edges.
The focal poin t of this scene is the breaking wave . so I apply more detail there,
adding iJrighter colors and creating more foam. Asl add more color to the water,
I lighten the values near the horizon to bring out more contrast in the foreground.
Then I develop the clouds by adding more lights (white. admium yellow pale,
cadmium red light, and a touch of viridian green) and darks (while. quinacridone
rose. cobalt blue).
STEP SIX
STEP SEVEN
I break down the shapes in the main rock by buildin~ up the texture with more
light and dark values. I create highlights with a mix of white, transparent oxide
red, viridian green, yellow ochre, and cadmium fed light. Then I switch to a mix
of sap green. yellow ochre. and cadmium red li~ht for the dark areas. I adjust the
headland by randomly adding a range of yalues with a small sable brUSh.
I am careful not to apply too much detail in the area5 out51de of my focal point
because I don't want them to distract from the center of interest. As I continue, I
decide to slightly alter the direction of the lower rock formations to point toward
the wave; this "eales more ac tion and a contrasting diagonal line of movement.
To soften the edges of Ihe rocks, I blend lhe edges wilh a dry sable brUSh.
STEP EIGHT
53
PORTRAIT OF A CHILD
ReferenU! Photos
STEP ONE
STEP Two
Lishts In hlr
"hiu
+ (ad.y~Uow
",k
+ Jrl lllw ochrt
+ (lid. yrllow
dup
+
cad.
",j
light
un,'c~ n
,ad yellow
,."
STEP THREE
STEP FOUR
Now Ilay in Ihe darkesl values in Ihe hair with a mi~ of burnt sie nna. viridian
green, yellow ochre. and a louch of cad. orange. To creale conlrast wilhi n Ihis
large, dark shape, I separately apply touches of each color fro m the mi~. For the
tighter shadows. I lighte n the mi~ with yellow ochre and cad. yellow deep. For
Ihe shadows around the eyes, I use a medium filbert and a mi~ of burnt sienna.
vilidian green. cad. orange, and a small amounl of yellow ochre . adding separate
touches of each color to (feate variation within the Shadowed skin to nes. Then I
add the small shadow on the left sleeve with a mi~ of cobalt blue, quinacridone
rose. and atiltle yellow ochre. twirling the brush in a loose. swirling motion that
mimics the fabric patterns.
Ne~t I add the lights in the hair with a medium bristle bfUsh and a thick mixture
of white. yellow ochre. cad. red light. and a small amount of celulean blue. I use
la rge, wide strokes and add touches of the original color mixture over the light hair
to keep it from looking like a flal surface of plain. solid color. With a mixture of
white. cad. yellow deep. cad. red lighl. and a touch 01 cerulean blue. I block in Ihe
light bodice of the dress. I make this value slightly darker Ihan il appears. as I'll be
applying the lighter embroidery over it. USi ng a variety of color mixtures. I roughly
block in the floral print ollhe dress. I'm always tempted to work on details righl
away. but adding detail5 too soon can make subjects look duttered and cause col
OIS to conflict wilh each other. So, al first. I paint as loosely as possible.
STEP FIVE
I aenl Audrey's light blond hair by adding a dark
gray background of utlramarine blue. burnt sienna.
yellow ochre, and a little thinner. For the lighter
areas, I add more yellow ochre 10 Ihe mix. Ilel lhe
backglOund blend with the hair, pulling the brush
with lighllinear strokes to crealI' soft edges; tight,
unblended edges can make a figure look as if it is
pasted on the canvas. While the paint is still wet,
I add more highlights to the hair with a small nat
brUSh. A.lI;ain I wl)rk some of the paint intI) the back,
ground to u eate a loose, natural texture.
STEP SEVEN
At this stage, I like to view my paintings in a
mirror, which gives me a fresh view of my work
and helps me spot ilfeas that may neeo minor
changes. I find I need to lower Audrey's right
shoulder and darken the right side of her fate.
darken the skin slightly, as I'd added too much
while to the mixture. Finally I raise the right
torner 01 her mouth slightly, simplify the light
shapes on he r left sleeve. and add more detait
to her left eye with a few fina l highlights.
Ey"
STEP SIX
Now I build up the skin tones with cad . red light on the cheekS and
chin and a mix I)f white, cad. red lighl. and a lillie yellow I)chre. For
the skin's soft texture, I use a dry sable brush 10 smooth the paint
and soften Ihe edges. Nllw I develop the delails IIfthe IIrgandy dress,
bringing lIut the details with a mix III white. cad. yellow light. cad. red
light, and a touch of cerulean blue. Then I apply a lighte r shade of
this mixtufl' with feathery strokes. Because I want Audrey's hair and
eyes til command the most attenlion, I simplify the dress fabric, making it more muted. I develop the eyes with the colors shown at right
and then I build up the hair wilh several thick brushslrokes.
Whirr
Ught
Dilrk
Skin Tones
Whi/f
au/
yrll~w ,~"t
.. (uti
(<lti. ",I
liglrl
.1>IIm!
sirnna
.. mo'r ("ti.
,,<I light
.. ,(ridi"l1
s:"~n
.. mo"
y,How ()(h"
amlwn
55
HENDRY BEACH
STEP ONE
I sketch t he composit ion directly
on the canvas with a small
flat bristle brush and a mix of
ceru lean blue and yellow ochre
thinned with a little turpent i ne.
If I need to make adjustments in
my dra wing, I can easily wipe off
the color with a paper towel and
solvent. I place the bask shapes
care fully, making sure I have a
variety of sizes and lines and a
good placement for my cen ter of
interest -lhe lrees on the lefl.
STEP
Two
STEP THREE
Now I develop the main shapes, starting with my center of interest. Using a small
bristle brush, I apply color to the foliage shapes on the left with a mix of white,
yellow ochre, cadmium red light, and touches of phtha lo yellow-green and cadmium yellow deep_ I add the darker va lues in the shadows with a mix of white,
viridian green, ultramarine blue, yellow ochre, and a touch of cadmium red ligh t.
I am careful not to overdevelop any of these outlying areas-this could detract
from the center of interest. I paint all the tree trunks with a small rigger brush
dipped in a mix of white, cadmium red light, viridian green, and yellow ochre_
57
HENDRY BEACH
(CONTINUED)
STEP FOU R
mv
S8
STEP FIVE
I carefully add clean color to
various areas of the canvas that
I want to highlight, and I add
the ducks in the foreground for
interest. In contrasl to the muted
tones underneath, these pure
colors will "pop," adding interest
and e~dtemenl. I don't want to
overdo this stage, so I lake spe'
cial (are and add only as much
clean (olor as I (an without losi ng
the authenticity of my subject
or distracting from my center
or in terest, I want less gray in
the blue sky, so I mix white and
cobalt blue with a little ultrama,
rine blue and quinacridone rose,
and I apply the mi~ with a large
sable flat without disturbing the
paint underneath, Finally I sign
my name!
'.
-.
,.
"
,r
-....-
.-
59
After trying out careers in the music and financial industries, Bill
chneider has return ed to his first love: painting. He studi ed at the
American Academy of Art and has won awards in several national
juried shows. Bill's work is represented by galleries in California,
Oklahoma, Illinois, and Wisconsin and has been published in
Iione a stretched linen canvas with a warm underpainling of terra rosa and
cadmium yellow deep. Then t use vine charcoal to draw the horizon line about
a third of the way down the canvas and sketch in Ihe main shapes. With a warm
mixture of black, ultramarine blue, transparent oxide red, and alizarin crimson, I
block in the deepest darks (the fence and the foreground shadows). Then tlay in
the lightest area-the warm gray sidewalk. For the ~condary darks in Ihe fence
and flower boxes, I add v;,id ian green and a little raw sienna to the original dark
mixture. I paint the remaining dark areas thinly with a medium bristle fillJ.ert. and
I block in the background with a mixture of terra rosa. black. and white. The dis,
tant tr~e is a mixture of viridian green, black, terra rosa, and white. Working for
ward with a medium flat bristle brush, I define the light side of the farthest bui ld
ing on the right with a mix of terra rosa. raw sienna, white, and viridian green.
6,
STEP Two
STEP THREE
STEP FOUR
STEP FIVE
Now I suggest the figures with a small sable brush. I paint the red skin with a
mix of terra rnsa, alizarin (Timson, and white, adding a little bla(k for the shadnws, The blouse is the color I used for the porch (see step three) with a touch of
black for the shadowed side. I mix terra rosa, law sienna, viridian green, and
white for the flesh tone. Finally I use some of the porch and leaf cotors to indio
cate the spaces in the iron fence. In this case, ii's bf:oller to painl the negative
spaces with the background (olor rather than trying to paint the narrow lines of
Ihe fence itself.
6,
SNOWSCAPE
- /
\
,L
-STEP Two
STEP ONE
I start by toning a streIchI'd canvas with a wash of terra rosa and viridian green
Ne~t
thinne<l with turpentine; this warm underpaintjng will serve as a good base colo r
lor building the white snow. After wiping off most of the wash and letting the
frame of reference for all the other values in the painting. I use a mixture of
alizarin ([imson, ultrama rine blue, and Iransparenl o~jde red wi lh a large filbert
brislle brush 10 block in Ihe da rks. AU of Ihe middle ground snow is Ihe same
value (a miKlure of white, u1tramarine blue, black, le rra rosa, and raw sienna),
so I just swipe it on with one stroke of the pa lelle knife.
canvas dry 10 the touch (aboullo minutes). I use vine charcoal to divide the canvas into thi rds horizontally and vertically and 10 Sketch in the general placement
of the main elements: the distant tree line, the pine trees. the middle ground
build ings. and the foreground tufts of grass.
STEP THREE
"-
~
.
.
'
-I
",
6,
I
Bu ic Tree Mill 13
Cadmi um ),<110'" light.
black, "ilramann( blur,
""d l(n<1
IO.>$i'
STEP FOUR
STEP FIVE
Working forward, Ilay in the willIe values of the distant and middle ground snow,
Now I work on the closest tree, for interest, I add a warm mix of ultramarine
making sure the contrast between them is noticeable. Then I block in the build
ings with a combinat ion of the basic tree mi~lure Ih and some more terra rosa
and raw sienna. For the shadows in flont.1 block in a slightly da rker versiun of
my snow color (see step two). Next I paint the pine trees with a medium bristle
filbert, using Ihe Ihree basic Iree mixes (see page 64) and leaving some of the
dark value to indicate Ihe tree trunks.
blue, lena rosa, raw sienna, and speck of white to indicate dead pine needles .
paint in the foregrGund snow with a warm mix of while. terra Illsa. ultramarine
blue, and raw sienna. USing a large bristle filbert. I lightly drag in the grasses in
the middle ground. Finally I place a few sharp. defined strokes with a small round
brush to indicate individual tufts of grass in the foreground.
STEP SIX
,\
\:
. '
"
."
6,
MCPHERSON'S POND
I
- ~--.=....,--
- ~---.,
,
STEP OHf
STEP Two
I was fascinated by the many (olors my field study revealed in thi5 scene and
decided 10 render this la nds.!:ape in more detail. I begin by toning my (anVilS wilh
a thin wa5h of cadmium red light, te rra rosa , and ultramarine blue. Using vine
charcoal. 1 divide the canvas into thi rds horizontally and vertically and sketch in
the main landmarks, refeni ng to my field study as I draw. I establish the darks
with a mix of ultramarine blue, alizarin (rimson , and transparent oxid e 'I'd and
I establish some of the secondary darks with a mixture 01 ultramarine blue. trans
parent oxide red. alizarin crimson, and law sienna. Asllay in a lighl blue for the
sky (see ~mple 011 page 67), I flatten and smooth out the edges with a palette
knife. 1 darken the top of the sky by adding black and ultramarine blue to the mi~
and the n paint in the mountains with a mixture of ultramarine blue, terra rosa,
raw sienna, and white. For the distant ~ray trees, I use a mix of ultramarine blue,
raw sienna, alizarin crimson, and a little white.
STEP THREE
STEP FOUR
Ne~t
IlaV in the reflections in the water USing the tree mixtures that I've grayed down
with more tena rosa. raw sienna. and white. Painting thinly. I lay them in with
horizontal strokes and a large bristle brush to Show movement in the water. For
the dark reflections,l add ultramarine blue and terra rosa tothe mix. I block in
the shadows 01 the aspens with a grayed, purplish mi~ of ultramarine blue, cadmium red light, white, and raw sienna.
1 block in the rest of the trees with both light and dar k green tree mixes (see
sample on page 67).1 paint the front pines with a mix of ultramarine blue. black.
ca dm ium yellow light, and a speck of white. The tops of the branches reflect
the sky, so 1 add viridian green, white, and alizarin crim5lln to the milL Using
two small sable brushes (one with sky color and one with tree color). I alternate
between using both brushes, blending and softening t he edges where the trees
meet the sky. Then I block In the water.
66
1.
STEP FI VE
Sky
Sky Reflections
CMlHfYlItJ allor
This quick field study that
I painted on site helps me
gauge the actual (010<5
I observed in this scene.
When painti ng fall (010<5,
Ihe naturat tendency is to
make them too inte nse.
Try this experiment wilen
paint in~ outdoors, Tie
a yellow or red piece of
doth to a tree, and vou'l(
be able to see how much
grayer the leaves really
are in compa rison.
plu .
DlOl',
...hu t. an,1
6,
HAP T E R
rt
alifornia.
DOORWAY
,0
STEP ONE
STEP Two
STEP THREE
STEP FOUR
STEP FIVE
Using a mixture of flesh and white. I go back over the entire wall to punch up the lights. I load my brush more
heavily with wlor now and vary the diredion of the brushstrokes to add some texture. I also bring up the
other highlighted areas i n the door and Ihe foreground. When I'm adding highlights, I like to paint loosely and
let the brush do t he work. I'm not concerned with trving to get a pe rfec tly smooth, even surface. BV varying
the direction of the brushstrokes and the pressure, I creale an illusion of dimension and reality. Flat, two
dimensional surfaces are bori ng in any painting. so be spontaneous. Paint boldly and have fun!
STEP SIX
Now I add more interest and texture
to the wall with a final application of
brilliant yellow mi~ed with white. I
also soflen the highlights in the door
by going over them with a dry brush.
Using Vellow ochte and cad. red li ght,
I applV one more laver of color to the
ftont steps and create some high
lights with flesh and white. Once I'm
satisfied with these fi nal elements,
all that remains is to bring life to the
flowers and leaves. I bring out the
color of the leaves bV adding various
green mixtures, starting with the dark
est and working up to some final high
lights. As with the door, it's important
to staV loose and not try 10 cover the
whole area. I paint around some of
the dark areas to ,reate the illusion of
bright sun hilling the leaves. Finally
I add the brightest flowers with a
mix of cadmium red lighl and alizarin
crimson for the bougainvillea and add
a few touches of brilliant yellow and
cadmium orange for both the flowers
on the right and the patch of grass in
the foreground.
"
BOAT
72
Two
STEP ONE
STEP
Once I'm happy with my sketch, I start applying very th in washes with a large
brush. Rrst I block in the basic shapes of the boat and its reflection using a mixture
of yellow ochre, alizarin crimson, and burnt sienna. I use very little pigment at this
po int, as I don 't want to cover up my drawing, which I'll still need for reference.
Then I add a little Payne's gray for t he shadowed areas of the boat. Next I paint the
water with va rious mixes of Prussian blue, viridian green, sap green, cerulean blue,
and phthalo violet.
Now I develop the water by buildin g up each of the values. Although the finished
boat will be almost white, I use much darker colors for its reflection, mixing some
of the colors I used for the water with the boat co lor mixture of yellow ochre, aliz
arin crimson, and burnt sie nna. This creates a deeper blue ve rsion of the boat's
color, which gives the illusio n of dept h and transparency,
STEP THREE
STEP FOUR
For the reflections of the hull, I add burnt sienna and raw sienna to the cerulean
blue and viridian green mixtu re . Then I add a red tint to the shadows with a
mixtu re of alizarin crimson, cadmium red light, and Payne's gray. Next I switch
to a medium-sized flat brush and draw with the paint, adding dark, contrasting
ripples. I create the re flected red stripes w ith ali zarin cr imson, cadmium re d light,
and Payne's gray. For the ma in part of the hull, I use a mixture of yellow ochre
and alizarin crimson. Again I keep my brushstrokes fluid to convey the feeling of
the boat float ing on the water.
Now I define the individual ripples in the water with four slightly different mixes
from step one. I work from top to bottom, placi ng the lighter values toward the
top, which heightens the realism of the water and adds dep th and contrast to the
painting. I also let some of the darker underpainting show thro ugh to give the
waves more dimension. Next I add a thin coat of flesh over the sun lit areas and
define t he shadows with a mix of Payne's gray, flesh , and cerulean blue. I da rken
th is mix for the two lines of tr im on the outside of the hull. For the middle of the
trim, I mix cadmium red light and Payne's gray and use minimal brushstrokes to
give the lines a smooth, un interrupted look.
STEP FIVE
STEP SIX
I continue building
up the white Gf the
boat. Then I make
a few adjustments,
adding lighter
reflections to the
hull in the water
and defining the
etements inside
the boat and on the
WGod trim . Finally
I touch up the rope
and add a few
more highlights to
the water althe
tOP of the painting.
73
Outllnlnl Slulpes
I begin wilh a rough drawing, oullining the
basic shapes with a fine-poinl marker. At this
stage, I'm concentrating on making sure the
perspective and proportions are conee!; I'll
add the details when I paint.
STEP Two
Using a medium flal brush and a mi~ture of Prussian
blue, sap green, and alilarin crimson, I paint the
dark foliage and deline the dark shapes of the windows and shadows. I avoid using black. as I 11'1'1 it
brings a harsh, artificial tone that does not really
exist in nature. EJcperiment and you'll find you can
vary the hue of even the dar kest areas in your paint
ings without ever using black. Next I add more color
to the roof in the center with a mix olyellow ochre
and Payne's gray, varying the direction of my strokes
to crute intere~tin!l tutu,u.
STEP THREE
STEP FOUR
STEP FI V E
74
STEP ONE
STEP SIX
I step back and take a look at what I've completed 50 far and decide what I need
10 adjust. I want the sky 10 have a hazy feeling to heighten the contrast in the
buj(ding~, ~ 1mix white with a little flesh color and blueviolet. 1 create the
brightest highlights on the rooftops with a mixture of white and brilliant yellow.
To add a sense 01 texture and realism, 1keep my brushstrokes loose. 1mix cad
mium yellow light and white for the final highlights on the yellow buildings. I
also apply this color to some areas of the wall on the right for interest. I bring
up the lighter values of color in the other buildings and then add highlighls to
the foliage using sap green mixed with cadmium yellow light and viridian green
mixed with yellow och re.
75
NIGHTTIME
CAFE
STEP ONE
STEP Two
STEP FOUR
Next I mix blueviolet
and Payne's gray and
use t he edge of a small
flat sable brush to draw
in some details on the
building. I build up the
color in the awning with
more sap green, and
then I add some Naples
yellow for the highlights. I add further definition to the caf~ interior with a mix of burnt
sienna, Naples yellow,
and Payne's gray. Fo r
the tabl ecloths, I use a
mix of phthalo violet,
blue-violet . and flesh.
varying the direction
of the brushstrokes to
simulate the fo lds in
the cloth.
STEP THREE
Now, using the drawing as a guide and referring to
the photo for color. I block in the dark and medium
values. I mix alizarin crimson, Prussian blue, and sap
green for the darkest colors in the tree foliage and
the window shutters. Then I use a mixture of phthalo
violet and cerulean blue for the building. Next I mix
sap green and burnt sienna to begin defin ing the
details in the cafe awning and interior. I use a vari
ety of all these colors for the fo regrou nd to establish
the shadows and reflected light.
STEP FIVE
Next I
Crlll/ral) b/)lr
SUI'
..:run
Phthu/u ,io/(/
b/~ r,io/rl
S~p grr'""
)rllol<' ochrf
Papts grll)"
Codm;"m )"dlol<' ..
... bitr
"
PORTOFINO HARBOR
IEUmlaetln,lElementt;
While sket(hing from my photo. I decided to
leave out the staffalding on the hillside build
STEP ONE
STEP Two
STEP FOUR
STEP THREE
Now I begin refining the buildings. Wi th a mediumsized flat brush and a midu.e a/yellow ochre, Na ples
,8
Glowlns Llshts
Det.1I
I apply thick yellow
and white paint in
a circutar motion to
capture the glow
of street lamps at
night.
Reiledlons Det.1l
I use the edge of a
fla! brush and cre
ate short, tapered,
horizontal strokes
to render realistic
reflections in tile
water.
STEP FIVE
I suggest some details in the buildings, uSing a mi~ of alizarin
uimson and udmium red light for the fa~ades on the left and the
trim on Ihe right. I mix burnt sienn~ ~nd nesh for Ihe f~~ades on
the right, adding touches of yellow ochre or raw sienna. To ~punch
up~ the light for more contrast, I mi~ cadmium yellow light and
yellow ochre for the reflections on the water and the doorways.
I add white to the same midure for the clock tower. Then I mi~ a
little white with blueviolet and paint a few highlights on the water
in the foreground.' also add this color to the plaza, the ooats, and
a few of the rooftops. I highlight the trees with a mi~ of sap green
and yellow ochre and add some detail to the awnings with a mi~
of (erulea n blue and viridian green. With a mil of white and (ad
mium yellow light, I paint some of the cafe tabletops. Now I add
the brightest highlights. USing cadmium yellow light mi~ed with
a small amount of white, I paint the glowing lights in the cafe. I
lighten up the windows and indicate the shutters with a mix of
cerutean blue and Payne 's gray. I step back and look for any other
areas that need sharpening or rontrast, adding a highlight here
and there to harmonize the oV(!ratl painting.
79
SUNLIT PATH
STE P ONE
STEP Two
STEP THREE
With the gate set off to the left and the sunlit path
NeJi I establish Ihe large areas of the darkest col ors and begin to define Ihe Windows. walls. and
roof, as well as the shado~ in the foreground. I
STEP FO UR
Now I add the brightest highlights, for the sky, I
mix a li ttle flesh color wilh white, I paint around
some of the overhanging trees and also add a
few "openings." USing the edge of a small nat
brush as a drawing tool. I add highlights to the
suollwork in the ga te. With the same brush, I
paint the large areas of light in the foreground,
careluUy painting around the shadow areas I've
alreadV established. I mix brilliant yellow and
white and layer this on top of the colors I've
just applied . This really makes the sunli' ground
"pop" and warms it up.
STEP FIVE
TO finish, I mix some variations of sap green and cadmium yellow light with a
little white and cadmium orange lor the sunlit areas. Ne~t I mix cadmium yellow
light, cadmium orange. and brilliant green to paint the openings in the fen(e
where light shines through. For the bri(k wall, I mix yellow ochre, whi te, and (ad
mium orange, adding a little cerulean blue for the shadows. For the scrollwork
on the gate, I mix burnt sienna and cadmium orange. for a little color accent, I
add the flowers on the left with a mix of phthalo violet and white.
8.
ROCKY SHORELINE
(lloo"na. VI_poInl
STEP ONE
ga~
STEP TwO
Now I add the underpainting for the water; I mi~ cerulean blue and blueviolet for
the lightest areas and add ph thalo violet and Payne's gray for the darkest areas.
I also paint the sand below Ihe tide pool in Ihe foreground. I'm ca reful 10 paint
around the brightesl areas of the water where I'll later add the highlights. Then I
mi~ raw sienna and cerulean blue and blend th is ml~ture into the waler that I've
already painted - this gives the effect of transparent, shallow water. Then I apply
this same mi~ture to the shaded bluffs in the background.
8,
STEP THREE
STEP FOUR
To brighten the values in the surf, I apply a mix of blueviolet and white to the
waves and to the ocean in the background. Ne~t I apply a mix of Naples yellow
and yellow ochre to the brightest areas in the hillside. Then I add the white caps
in the water with a mi~ of flesh and light blueviolet. I want to (aplure the hazy
sunshine in this late afternoon scene, but I also want to crea te a subtle transition
hom the blue at the top to the bright yellow at the ho rizon.
Now I mix four colors and applv them from top to bottom: The first is a mix of
cerule an blue . blue-violet. and white. I lighten this mi~ with wt1ite for the second
hue. The third color is a mix of flesh and white. and the fourth is a mi~ture of bril
liant yellow and white. I use a large nat brush 10 apply the (olor and work qukk
IV. keeping the paint wet with medium. I vary the direction of the brushstrokes
and add thick areas of the flesh and Vellow mi~es to create the clouds .
STEP FIVE
Now I want to bring out some details and vari ations
in t he shaded areas of t he rocks. I mix blue-violet
and Payne's gray for the rocks on the left and mix
raw sienna and Payne's gray for the others. I fill in
large portions of the shaded areas but leave some
of the darkest color showing for depth. I also use
the same color to paint the rocks' re flections i n the
water, which creates a lot of contrast and inte resting
patterns. Then I pa int the foreground sand with a
mixture of yellow ochre and Naples yellow.
Water
IJhre-viokl +
Poy"e's gmy
Puy"e's gmy
mu eviolel +
whil.f
Rocks
Burnt sicllIla +
jlrsll +
wdmiult! o/"(lJIge
Cadmi"",
yellow +
",hile
Cod""u",
yellow +
while + fl es h
STEP SIX
I mix Payne's gray,
white, and phlhalo
violet for Ihe midrange values in
the grayish rocks
on the left. Then I
mix bu rnt sienna,
flesh, and yellow
och re with a small
amount of cadmi
urn orange for the
remaini ng rocks on
the right. I use a
mix of nesh, wh ite,
and cadmium yel
low light for the
brightest areas
in the rocks, and
I add more white
to these mixtu res
for the tops of t he
waves and the surf.
Now I step back
and take a final
look, mak ing any
small ad justments
that will accentuate
the overall co lor
harmony of the
painti ng.
MISSION-STYLE VI LLA
STEP ONE
STEP T HR EE
STEP Two
I paint the sky with a mix of ceru lean blue and white.
Then I mix cerulean blue, phthalo violet, and Payne's
gray for the farthest hill. I add a little sap green to a
few areas of the hill for interest and add sap green
and alizarin crimson at the bottom of the hill. I bring
up the midtones in the trees w ith a mix of sap green,
brilli ant green, and yellow ochre. Then I add another
wash of blueviolet and phthalo violet to the build ing.
To suggest a lavender field, I create a mix of blue
violet and phthalo violet and apply it to the fore ground with loose, random strokes.
STEP FOUR
I miK brilliant yellow and white for the final building highlights
and the rocks around the driveway. Then I add more highlights
to the lands(ilpe wilh a miK of flesh and Payne's gray. I paint the
foreground wilh a large flat brush and various mi~es of brllliani
~lIow, (admium orange, phthalo violet, blue-violel, and (admium
Yi!lIow
"
(aplurl",. UknHl
ONE
STEP Two
Using the edge of a medium flat brush, I first add
Payne's gray and then cerulean blue to the folds
of the shirt and the shadows in the hands, for the
beard, hair, and facial shadows, I use a mix of burnt
sienna and Payne's gray. I define the glasses with
Prussian blue and darken the brim of the hat with a
mix of Prussian I>lue and alizarin uimson.1 also add
a liUle yellow ochre 10 the front of Ihe hat to indi
cate the reflected tight.
STEP THREE
STEP
STEP
and Ihen I add some burnt sienna to the mix for Ihe
wood lones afthe instrument. I add cerulea n blue \0
the highlighted ~reas and begin to define the chair
with burnt sienna and Payne's gray, USing the thin
edge of my flat brush to "draw" the details.
86
STEP
FOUR
Ne~t
FIVE
STEP StX
Cap DetaIL
Capturing a sense of
realism and texture in
fabric can be easier than
you think, if you just
remember to keep your
brushstrokes loose and
varied. In this detail 01
the cap, you can see that
a gradation of values and
changing the direction of
the bru5h5troke5 sive5 it a
thr~dimensional quality
without a lot of detail.
Shirt Deta il
I use the same technique I
used for the cap and then
highlight the folds of the
shirt with multidirectional
brushslrokes. painting
quickly and loosely. The
key is nol to overwork any
one area; try to he sponta
neous and leI the brush do
the majority of the work!
You'lI actually end up
treating a more realistic
painting.
8,
CARMEL SIDEWALK
STEP ONE
Using a fine'point marker, I make a rough drawing on thl! canvas and then cover it entirely with a thin
base coat 01 magenta acrylic paint. I establish the basic areas 01 wlar and value with a Ihln wash of oils
(burnt sienna, Payne's gray, cerulean blue, and raw sienna) and a large nat brush, working quickly and
loosely. Again the idea is 10 cover the canvas without being too concerned about detail or
Ihe
lines.~
~staying
I block in each area according to the values I see in the photo, creating a base lor
t~
within
contrast
between Ihe light and shadow. I draw in the darkest values of the trees and foliage with a medium nat
brush and a mix of ali~a,in crimson, sap green, and Prussian blue. Next I use a mixture of cerulean blue
and Payne's gray lor the street Shadows. t add some yellow lKhre to this miJtture to vary the contrast in
a few places. and . also apply it to the underside of the building at the upper left. Then t use a mi~ture of
blue -violet and Payne's gray to blo(k in the shadows on the sidewalk.' add Payne's gray and burnt Sienna to this mi~ to define the shadows in the tree trunk and the sidewalk in the foreground. Then I apply a
mi~ of sap green and cerulean blue to creale same contrast in the trees.
88
STEPTWQ
STEP THREE
I mi~ blueviolet, flesh, and Payne's gray for the window frames and daalWays.
Next I mix a variety nf different greens for the trees, using sap green, brilliant
green light. yellow ochre. and flesh. I ~draw~ in the trees with a small fla t sable
brush, referring to my reference photo to guide my color chokes. Then I block in
the signs and awnings with a mi~ al cadmium orange and alizarin crimson. I add
more detail ta the shadows in the street with the Payne's gray and cerulean blue
mi~ture from step one. I pain t some of the negative space in the distance with a
mixture of brillian t yellow and white.
I paint the sky with a mix of cerulean blue and white. I use the negative space as
a guide and paint around the foliage, ~punching~ light i n between to break up
the solid mass of leaves. Illrighten up Ihe foliage at the upper right with a mix
of cadmium yellow light, sap green. yellow ochre. and Naples yellow. Then I mix
a few variations of (admium yellow light, cadmium orange, fles.h, and brilliant
yellaw to use in the street. the building highlights, and the tree trunks. By mix
ing a little of each {olor with white. I get a lot of e~dting highlight colors. I use a
mixture of blueviolet, while. and flesh 10 paint the crosswalk lines and then flU
in the Sidewalk with a mi~ of Naples yellow and while. Then I dab on a Ihick mix
of sap green and white for the bush in the foreground and apply a mix of white,
cerulean blue. and brilliant yellow for the bright flowers_
STEP FOUR
Now I fiU in the brightest highlights and add the final details. First I accentuate
the awning with cadmium red light. Then I add another layer to the building and
the sidewalk, varying th e direction of my strokes and the thickness of the paint
to ((eate texture and ;nteres!.l make some random shapes in the shadows ofthe
Ir~
with a mix of raw sienna, Payne's gray, and cerulean blue, being sure to
leave some darks showing through underneath. Finally I step back from the
canvas and add a few more pinpoint highlights with a mix of brilliant yellow
and while.
"
HAWAIIAN HARBOR
S TE P O NE
STE P Two
S TEP TH REE
page 4), 1 cre ate the u nderpa inting, I've chosen four
'"
type of water. First note that the colors in the reflections will be a liule less
,ntense than they are ,n the objects themselves. And IIght tolored objects will
appear somewhat darker; darkcolored objects will appear jusl a bit lighter.
finally remember that the object's f()rm W()n't appear quite as (liSp and dis
tinct in the relletlions. even in very calm water. as shown in these steps ()f
painting a boat and its reflection.
STEP FOUR
For the sky, I mix cerulean blue, blueviolet, and
white. I paint the top of the sky first; then I load a
small brush with sky color to punch holes" through
the tree branches. creating the negative spaces
between the leaves. I gradually add white to the
sky as I approach the horizon line. To highlight the
trees, I apply a mix of sap green. burnt sienna, and
raw sienna. leaving some of the dark colo, showing
through.
STEP FIVE
All that'slefl is to fill in the remaining areas with the lightest values. whiCh will bring the painting to life and
really make it look like a sunset scene. First I mix burnt sienna with cadmium orange for the tree trunkS, the
wood pilings, and a few of the miscellaneous detailS in the boat. dock. and water. I add some flesh to this
mixture for some of the reflections in the water. Then I lighten some shadows on the boat and the dock using
blue-violet mixed with ftesh. For the final highlights, I mix cadmium yellow light, flesh. and white for the hull
and the wheelhouse of the boat. the buildings, and a few of the details in the mast and the flag. I refer back to
my reference photo one last time and tweak any final details and highlights, applying the paint sparingly with
a small brUSh.
,.
NAUTICAL 5TI LL LI FE
Two
STEP ONE
STEP
M id- Range
Values
PaYlie' 8"a .
" nolmll Blue. flesl"
llitiiall ,-cd
92
STEP THREE
STEP FOUR
Mix "bol'e
pillS w" ile
Ce"u/fIUi bille,
fles h
Mix "bol'e
plus w',i le
STEP FIVE
Now I mix the colors for the ropes (see color sam
pies), applying Ihe blues fi rst and then the warme r
colors in betwee n these brushstrokes 10 add depth.
I use diagonal brushstrokes 10 malch the contour
and texture of the ropes. Then I add highlighls in the
mast and wooden post with yellow ochre mixed with
cerulean blue. For the deeper wood areas and the
life ring, I use Indian red and burnl sienna, I add the
brightest highlighls to the ropes, mixing cadmium
yellow light and cadmium orange. Fi nally I pain t in
the bright areas in Ihe background using cadmium
red light mixed with white and brilliant yellow mixed
with whi te.
RopeS
PIUiralo bluf.
liXhl blur
<iol'l
C",lmlu", red
light. film.
"hill
Ughl bill,
ololn, "-'hilt
Plrtiralo bluf.
liXhl blur
'iul,l. " 'hi"
STEP SIX
I apply highlights with a mixture of flesh, cadmium yellow tight, and white to the top of the railing, the posts,
and the ropes where they are in dired sunlight. For the de-ck, I first apply a mix of brilliant yellow and white.
The n I paint over it with an even lighter color-a mix of cadmium yellow light, cadmium orange, and white .
I paint the remai ning highlights in the life ring with a mix of cadmium yellow, cadmium red light. Then t mix
flesh into this color to add a few accents In the ropes and shadows, I step back, look at the painting, and then
make a few minor refinements to harmonize the color and details.
B,iIIi~"1
Cdd",;um ora,,!:,.
I'hlhalo >;olrl,
fl r.sh, ""'irr
( wlmi"m
y,Il" .., liglu,
"hitt
Raw si(mill.
",liire
"
(HAPTE R
PAINTING WITH
CAROLINE
ZIMMERMANN
---------------------------------------------------------
9S
TROPICAL PALM
STEP ONE
STEP Two
Tn create a {Ontfasting
ned step.
FollaE!!
Jrnlon )riJuM'
uJiz<lfi l! ('i"'WI!
STEP THREE
STEP FO UR
The (oln' of the water changes as the depth changes. becoming darker as the
Now I Mock in the colors of the sky. I mix one pari ultramarine blue to three parts
W
white and just a dab of phthalo blue. When painting Ihe sky, I ~cut in around the
palm leaves, meaning that I create the shapes of the leaves by pain ting the sky
around and between them. {This tl!'(hnique is called ~negative painting,W because
waler gelS deepe r, I begin with the darkest areas of water at the ho rizon, using
broad strokes of ultramarine blue with dabs of phthaio blue and phtha(o green,
I work toward Ihe Shore, mi~ing in l ints of phlhalo blue and green and gradually
adding white as the water becomes more shallOW, I keep lightening the mi~ture
until there is very little green pigment left, and I add it touch of lemon yellow for
the shallowest areas, I pai nt the sand and any bits of flotsam on the beach with
white mixed with transparent orange, Indian yellow, and dioxaz ine purp le. I add
dark colors to the foliage of the shrubs with it mixture o f ultramarine blue, dioxa
zine purple , and sap g reen. I block in the dark parts of the clouds with a mixture
of dioxazine purple, ultramarine blue, and a little white, and then I outline the
general cloud shapes. I don't emphasize them too much as they're merely the
backdrop, and I don't want them to conftict with my main subject.
you define an objed by painting the negative space around il rather than paint
ing the object itself.) Next I add more variation to the (olor of the water using
light blue mi~tures of phthalo green and phthalo blue, For the shallowest waler,
I use white mixed wit h a dab of dioxazine purple and Indian yellow, Then I add a
bit more yellow and orange to the white and deve lop the highlights on the sand.
I paint the dark areas of the palm leaves with !WIp green mixed with alizarin crim
son and allow the painting to dry before I (ontinue to the ned stage.
St~pOne
Step Two
I create the shapes
nf the palm frnnds by
painting the sky and
douds in and around
them, as described in
step fnur on page 96.
Then I use my small Rat
brush and short, delib
erate stmkes to create
the tips of the leaves.
I start at the center of
the branch and stroke
outward. lifting my
brush at the end to ere
ate the sharp point.
Step Three
Step Four
STEP FIVE
STEP SI X
"
ROOSTER
Two
STEP ONE
STEP
To accent and create contrast w ith the greens and yellows of the rooster, I apply
an underpainting using a mixtu re of alizarin crimson, dioxazine purple, Indian
yellow, transparent orange, and magenta. I paint loosely and bold ly with a large
brush, elimi nating the white of the canvas. I make the t op port ion of the canvas
warmer and lighte r an d the lower half coo ler and darker.
I sketch my composition with a medi um bright brush and a t hin mix of alizarin
crimson an d dioxazine purple. I work loosely and start developi ng the rooster's
feather patterns. I want him to be proud and upr ight, with a billowing tail. As
I build the rooster from a series of oval shapes , I pay attention to the relation
shi p betwee n the head and t he rest of his body and try to capture the feeling of
motion in his legs. To simp lify the background, I make the wall out of rocks, and
loosely indicate cracks and lines.
STEP THREE
STEP FOUR
Next I develop the comb and the throat feathers with a medium flat brush, using
a th in mixture of alizarin crimson, sap green, and magenta. Then, using a large
flat brush, I work on the texture of the stucco wall, creating bits of stone and
mortar and inventing patterns. I create my own brown mixtures using varied
amounts of dioxazine purple, transparent orange, Ind ian yellow, and titanium
wh ite, scattering bits of rocks and st icks on the ground. I enjoy using my imagi
natio n, as it's a pleasant change from constantly re ferring re ligiously to a photograph. I let the pa int dry long enough to "set," so that it's tacky (but not neces
sarily dry) and won't be easily smeared .
Using a large flat brush, I block in t he darkest colors of the stones with a warm
brown t hat I created from tints of pu rple and ultramari ne blue mixed with transparent orange. I bring up the wall with white mixed with transparent orange,
Indian yellow, cadmium ye llow med ium, and purp le. I paint neck feathers (see
color mixes on page 99) and block in the dark teal feathe rs wi th a mix of ult ramarine blue and sap green. Whe n I painl roosters or chickens, I use bo ld, wide
brush strokes and a lot of color to paint the feather.
Neck feathers
STEP FIVE
T '"""Sp<lr,"/
r",nspa"'"
""'"ge and
di"x(llill, pllrp/r
Tail feathers
Phlh~IQ
gr"n
Comb
STEP SIX
I place a t iny speck 01 white on the upper part of the pupil. This
simple louch makes the eve (Ome to life. I add a t int of cadmium
red medium to the rooster's (Omb and use cadmium yellow light
mixed with Indian yellow to accent the golden neck feathers and
the tips 01 the back feathers. I mix phthalo green with lemon yel
low tinted with white for the feet. To accentuate the rooster's rich
colors, I make the background recede with a transparent glaze
of alkyd resin, ultramarine blue, a touch of dioxaline purple, and
sap green. I use a sott flannel rag 10 wipe awav areas that are too
dark. Then I apply a lighl coating of alkyd resin medium tinted
with transparent orange. When the glaze dries, I bring out the
highlights aga in and (Ontinue thiS process 01 adding layers of
highl ights until I'm satisfied. For the finishing touches, I tint the
leathers with light brushstrokes 01 white. I use a smaller brush for
the delicate, small feathers and the pieces of hay under his feet.
With a medium flat brush, I create the farmyard dirt and stones
with varied mixes of sap green, dioxazine purple, ultramarine blue,
and a small amount of whi te,leaving the area under his feet dark
to indicate shadows. Using vertkal strokes 10 creale Inture. I go
over the background agai n with a m,xtllfe olwhite and yellow.
"lUI ~Iiz~d"
ni"""n
"
STEP ONE
STEP Two
STEP THREE
~ \ f ,
~
r,
'j
;,
Step One
In many paintings of
sunflowers, the flow
ers are ptaced in a
bright. sunlit setting.
But I want to tone them
down in my painting to
enhance the mood, so I
begin with a very dark
mixture of cadmium
yellow medium, trans
parent orange, and
dioxazine purple.
100
'"
Step Two
Step Three
Step Four
Although I wanl my
overall painti ng to be
dark and moody, I still
li ke the contrast of vivid
highlights on the pet
als, This heigh tens the
dramatic feeling of the
pa inting. I add Ihe final
light touches to the
petals with a slightly
lighter ve rsion of the
mix used in detail step
three.
STEP FOUR
I combine cadmium yellow medium with t ransparent orange and a daSh of dioxazine purple to begin
the sunflower petals, work ing from dark to light.
I define my underpainting with opaque pigments,
blocking in the colors with bo ld strokes and a large
flat brush. For the greens of the leaves, I mix various
values of sap green and lemon yellow. I create the
fabr ic C>f the towel with a combination of ultramarine
blue, phlhalo blue, and while, applying the darkest
values fi rst. I paint the darkest shadowed areas with
variations of ultramarine blue, dioxazine purp le, sap
green, and alizarin crimson. I also use various mixes
of this "black" for the centers of the flowers. the
candetabra, and the background shadows. I let the
pa inting dry completely before applying glazes.
STEP FIVE
In this painting, the glazes playa major part in
pU'1'lt
r'<I~Sf'<lrrlll
orU'lgt a.rd
r"a~sf'<l .rlll
Imon
orw!gt and
ytll~ ....
Tr<lllSpa'rnr orangt
and ..~i/(
STEP SIX
'"
MARTI N I 5TI LL LI FE
STEP ONE
STEP Two
STEP THREE
STEP fOUR
STEP FIVE
Now tlayer "om dark to light to build a 'ith rellee:live surface. first I UI~ale foliage behind the shaker
Then I add small amounts of cadm ium yellow medium to combinations of alizarin crimson, sap green,
'"
Ste p One
Step Two
Step Three
Then I apply mixes of
sap Green and cadmium yellow medium
to the light areas of
the olives, u5ing cad
mium red medium
and alizarin crimS(ln
for the pimentos.
Step Four
I use a mix (If sap
green and lemon yel
low for the highlights,
and then I add a final
touch of white. Next I
add the pimento high
lights with a mix of
cadmium red medium
and cadmium yellow
medium.
STEP SI X
Now I put some sparkle
on the reltedive sur
faces and bring out the
highlights. But to main
tain the optical illusion
of depth and reflection,
I pay close alieni ion to
the darkest shapes.
I apply Ihe lightesl val ues (white mixed with
touches of the gray
tones from step five) to
the reflections on the
shaker, the fork. and
the liquid in the glaS5.
Then, to create the thin
white highlights,l drag
the ed~e of a me<lium
flat brush perpendicularly across the painting
surface. Finally I add
the final highlights
to the olives and the
painting is {ompletecheers!
>OJ
..
-=,..=.~
--=
SUNSET BEACH
STEP ONE
Using a large filbert brush, I start wilh a thin mix of Ihe darkest shadow (olor
(arbalOle violet mixed with quinacridone violet, medium blue, and white) and
draw over my pencil Sketch. ' pilint the darkest sections first : the Shadows of the
tracks . the edge of tile bluffs. and the surfer (see color sample at rig ht). Then I
use pure cadmium red li ght, quinacridone red, and udmium orange to block in
Ihe sand and sky and medium blue for the ocean. Because this is a sunset 5o(ene,
the overall tone of the painting is warm, so even the Kcool K Shadow colors will
seem warm next to the warm tones.
,,6
Track Shadows
Medium bhre. (m lx,<"le
,i"lct. quinuCfid"ne
,Imet. "nd ~h;u
STEPTWQ
MV goal at this point is to get rid of
the white of the canvas bV blocking
in all the major areas of color. With a
medium bristle brush, I scrub in cad
mium red light, quinacridor\(! red, and
cadmium orange for the sand near the
shoreline. I blend in some more cad
mium red light and cadmium orange
as I paint toward the tire tracks. and I
add Carbazole violet to th is same mi~
ture to block in the rocky bluffs. Then
I mi~ the sand color with medium
blue, phthalo ~reen, and white for lhe
water.
ocun
STEP THREE
With a medium round brush, I block in
the rest olthe sky, blending from top
to b-oltom as I work. I use pure colors
here-I can always correct them later
if they look too bright. Next I apply
cadmium yellow medium with a touch
of phthalo green al the top. (This is
also the same wlor I use for the surf
board.) Then I use cadmium orange in
the lower hall of the sky, and I add a
little quinacridone red at the horizon
line. The distant ocean Is a lave nder
mix (see color sample above) that I
ble nd up into the sky. adding a little
quinacridone red 10 make it hazy
and help create the illusion of depth.
The foam on the waves isn't actually
white; the dark pan is a greenish blue
(phthalo green mixed with while, cad
mium vellow medium, and medium
blue), and the highlights are pink
(quinacridone red mixed with white.
and a liltle cadmium vellow medium).
I place all these (010r5 with a small
round brush.
"7
SUNSET BEACH
STEP FOUR
STEP FI VE
I add the lifeguard tower and distant houses with a mix of cadmium
eve
,,"
(CONTINUED)
STEP SIX
After standing back and assessing my
work, t decide to make some slish t
alterations. I lighten up the sky by
mixing a light creamy color (white,
cadmium orange, cadmium yellow
medium, and quinaclidone violet)
directly i nto the wet sky (l)lor and
blending il in e~enly with a medium
round brush. I think the sand needs
to be cooler, so I wort. some blue
into the wet paint with a small filbert.
The tire tracks need a slightly darker
shadow - I mix a dark purple and dab
it on top of the tracks, lea~ing some
(If the original (l)lor showing Ihr(lugh.
I also change the shape 01 the tracks
slightly. straightening out a few
bumps. Since the foreground high
lights in this painting are the center of
inte rest, I'~e created them with care
ful and deliberate strokes and left the
other elements in the paInting loose
and less detailed.
HIGHLIGHTIN G
PAINTING FIGURES
>0,
CALIFORNIA COAST
STEP ONE
With a pencil , I draw the horizon line, then the tracks and bushes
and the other basi< elements, laking carl' to getlhe pi'f5pedive
corrett. I paint the shadows of lhe tu!slle with a mi~ of Carbazole
violet, ultramarine blue, and quinacridone red. As I paint toward
the distant part of the trestle, I blend in a mixture of Carbazole vio-
let, ultramarine blue. and white. With a small round brush, I block
in the bushes with thick strokes that mimic their growth. As the
foliage recedes inlo the distance, I use less and less blue unlill
5TEPTwo
I add a little of the trestle shadow color to the darker mix I used
fo r the bushes and place a few strong shadows in t he foreground
and neat Ihe trestle, I paint in the ocean on the right wilh a small
flat brush and a mixture of ultramarine blue , phthalo green, and
white. It lookS bright now. but later t'll add some sky (olor to tone
it down. I stroke in a mix of ultramarine blue. Carbazole violet.
quinauidone red, and white onto the track with the same small
flat brush. I also add more white and ultramarine blue to cool the
mixture as the tracks disappear into the distance. Sometimes I mix
colors together directly on my canvas: I find that the new colors
that often appear in the blend help the overall color harmony of
the painting.
5TEPTHREE
I block in the mountain and then create a pale yellow mixture for
the sky with white. cadmium ye((ow medium. and ultramarine blue.
I mix a lot of this sky color: I'll save some to blend it into the other
color elements later to give t he illusion of a very hazy atmosphere.
And if an element of the painting "pOpSH forward too much. I sim
ply add a litlle sky color to it. I start by first painting the mountain
i n the distance and then thickly layi ng on the sky colors with a
medium round brush.
5TEP FOUR
I blend some of the sky color into the mountain until it starts to
disappear, alternating between the two colors. Then I scrub in the
sand and add yellow to Ihe edges of the path for variation. I add
thick highlights to the bushes with various mixtures of ultramarine
blue, cadmium yellow medium, white, and phthalo green. I save
the brightest highlights for the foreground; I dab in flowers and
highlights with a mix of udmium yellow medium and a little cad mium orange, white, and phthalo green.
STEP FIVE
Sind
,,,I.
cadmium ,,'~n!:,.
cadmium )dr" ..
m,di,.m, unJ whir,
Si nd Shidow5
Ca ,""::ol, ,io\(l.
"llramllfj"t blur. quinacSTEP SIX
rj,Io", 1(,/,
(admll"" Ol"<lIIgt.
cadmiu m )'tl!ow
,"rdium. (lnd whilr
STEP SEVEN
I finalize the tracks by painting highlights on the gravel. Stalting wilh the track
tolors! used in step five,! add more quinauidone red and white.! highlight the
tracks with mo re ultramarine blue and white and add a few last bright hIghlights
to the foreground bushes.
WHAT
Is
'"
contin ues to intrigue landscape artists and art lo\'ers alike. Most
plci n ai r artists' intent is not to re-c reate nature exactly but to
tTuthfull)' express their impression of it. As you lea rn the art of
painting "'en plein air," you'll find that content becomes more
important than technique. You'l! learn to restrict your paintings to
only those elernellls that help you tell a Story or convey a mood.
Generally. your style will become looser as you're forced to work
quickly 10 capture the cons!alllly changing light and weathe r
conditions. The amount of subject mailer outdoors is endless!
You ma)' find a fantastic s ubject at an exotic location. at a fa\"orite nature spot, or evell in yo ur own backyard. The key is to stay
nexiblc and have fun-then painting outd oors can be a truly
enlightening experience!
EASELS
PALETTES
W ORK SPACE
The way in which you sel u p you r supplies will depend on whet her you arc
right- or left~ handed and what feels most
comfortable for yo u. [ usually place my
easel in the shade, fa cing away from the
sun. You can also attach an umbrella 10
your easel for shade-hut Slay away fWIll
brightly colored or white umbrctlas; they
\"
':.
aruUH . nd knives
I use Qnly three brushes when painting outdoors:
c."".sc.meq
Some aft stores sell wooden (ases with builH n
dividers for transporting your paintings. They
wme in various sizes, a nd some are even adju~t
able. Carriers are great because they keep wet
paintings separated so the (olor doesn't smear.
c.nvu Boards
for plein air pain ting, I recommend using commer
ciany prepared canvas boards in small standard
sizes, such as 8~ ~ 10", 9~ x 11", and 11" x 14".
These readylo use.lighlweighl panels have preprimed canvas glued onto cardboard.
Sketchpad
A sketchpad comes in handy for working out a
composition before beginning a painting. I some
limes use a marker to draw because it forces me
to simplify my drawing.
S.ltI nl up My Tools
Before I begin to paint, I always arrange my tools in
the same place on my easel. I also place the colors
on my palette in the same place every lime. This
way, I can paint quickly, wilhout having to think
about where everything is.
PnlparlllJ tD 6D
CLOUDY SKIES
116
STEP ONE
STEP Two
STEP THREE
STEP ONE
STEP Two
STEP THREE
STEP ONE
STEP Two
STEP THREE
Finally I paint in the horizon US ing hor izontal brushst rokes and a mix of cadmium orange, cadmium
yellow pale, and a litt le titan ium white. I use more
brilliant hues as I get closer t o the horizon because
t hat is what I see_
TREES
Two
STEP ONE
STEP
Two
STEP ONE
STEP
STEP THREE
I conti nu e to bu ild up depth in the trees with dif
ferent values of my golden mixture. I care fu Ity dab
on the very ligh test highlights last. Notice that the
variety of lights and darks makes the foliage appear
thicker a nd more li felike and that the short, angled
brushstrokes create the illusion of leaves.
STEP THREE
VARIATION
Two
STEP ONE
STEP
STEP THREE
Now I add a thick mixt ure of warmer green (yellow
och re mixed with ultramarine blue) to the tree in the
foreground .
117
THE OCEAN
A RIVER
A ROCKY SHORELINE
the water is in the distance, so there's less emphasis on the motion of the waves. Instead the move'
STEP
ONE
STEP
ONE
uS
STEP Two
STEP
THREE
STEP Two
STEP
THREE
FIGURES
AVALO N PIER
This is a 6~ It 8~ study I painted while on a trip to Catalina Island off the coast of southern California. I was
partkularly drawn II) the S(l'nl' because of the strong contrast between the bright green hue of the pier and
the shadowed hillside. The loo.!! impression of Ihe crowd of tourists and fishermen walleing along the pier
STEP ONE
STEP Two
STEP THREE
sUfToundings.
"9
Creative Cropplns
STE P ON E
STEP
Two
STEP THREE
Next I start building up the forms. I use variations
of cadmium yellow pale, ultramarine blue, alizarin
crimson, and titanium white for all of the midtone
greens in this painting. For the brown fence, I use
a mix of burnt sienna and white and vertical brushstrokes, following the direction of the wooden
planks. Then I add lighter mixtures of alizarin crim
son, white, and cadmium yellow pale to the flowers.
I'm constantly judging the relationship between the
light areas and the shadows here-these contrasts
are what make this scene so interesting. I block in
the rest of the foliage with more mixtures of green,
keeping my lightest values in the sunlit areas.
120
S TE P FOUR
I add some bright yel
low and orange flow
ers in the foreground,
applying little dabs of
paint with my small
brush. I also start refin
ing some of the fore
ground foliage, USing
thicker brushst rokes
of my green mixtures. I
want to make sure the
righ t side of the house
doesn 't get lost in the
foliage, so I work in
a darker shade of the
blue house mixture to
define the area but also
push it further into the
background.
STEP FIVE
Since the center of interest is the house and the flowers in front of it, I use
thicker, brighler paint and sharper edges to draw the eye 10 Ihis area. I step back
from my painting freQuentfy to make sure the whofe Ilainting is ba lanced. The
advantage in starting out simplv is that I can always add more detail In the final
slages if I need to. In Ihis case, I go back over the whole canvas, adding small
but necessa ..... details and adjusting the (olors and values.
FOREST
STEP ONE
5TEPTWQ
to keep the paint from mi~ing with tile thicker highlights of the sunny spots.
STEPTHIlEE
To highlight the brightest patches, I dab a thick.
yellowish mixture on the edges of the leaves. In the
foreground, I use a warm green mi~ of cadmium yel
low pale, phlhalo green, alizarin crimson, and while
10 add touches of sunlighllo the grass. finally I add
a mixture of blue and white between the branches to
give glimpses Of1he sky breaking 1hrough.
BEACH AT DUSK
STEP ONE
5TEPTWQ
When I paint. I don', rely solely on the sky colors 10 show the time of dayinstead all the elements in a s(ene work together 10 im part a sense of time. For
This was a (aim, windless day, so the water was dark and still and the beach
was quiet, now that most of the [leople had left, I [laint in the deserted sand and
the remain ing elements of the sh oreline, worki ng some warm , dusky mi ~es of
burnt sienna, alizarin crimson, and white into the sand. I add high lights sparingly
to the simple rocks in the foreground til contrast with the long. cool Shadows
beneath them. The highlights are mi~es of burnt sienna, alizarin crimson . and
whi te, and the shadows are mixes of ultramarine blue and burnt sienna.
exam ple, a sunset sky may establish the tone of Ille scene, but warm colors,
long. cool shadows. and calm waters un all contribute to the feeling of a quiet
beach at dusk. With confident, quick st rokes, I begin sketchi ng in the rocks and
trees. Nut I block in the sky and the water with mixes 01 ultramarine blue and
white. I want the drama of the fading afternoon light to 1M! evident . so I paint in
the shadow areas a little darke. at the beginning - I can always adjust them later
STEP THREE
STEP FOUR
Once I fill in Ihe remaining color of the palm trees (cadmium yellow pale, ultra
marine blue, and a touch of phthalo green), you can see the e ffects of the waning
sunlight and how the mood of the whole painting begins to take shape. I quickly
paint i n the distant clouds with the rich pinks and violets of late afternoon, using
mi~es of alizarin (Jimson. cadm ium orange. ultramarine blue. and titanium white.
These cool colors contribute to a sense of peaceful serenity.
To finish the palm fronds convincingly, I use thick brushstrokes and paint them
the direction in which lhe leaves grow. (See page 117 for more on palm lrees.)
I add hints of green algae to the rocks and sharpen their edges with more thick
highlig ht s. Last I use loose, h oriwntal bru shstrokes to refine the waves and
soften the edges of the distant sunset douds.
"3
FOGGY HARBOR
STEP
I block in the basic shapes of t he dock and boats and paint in a thin wash of
titanium white. cadm ium yellow pale, and a touch of phthalo green over the
water. After most of the co lor is laid in, I start to bu ild up the forms a little to sug
gest distant buildings and trees . I paint in the dock using a mixture of blue, burnt
sienna, and white. Then I add a darker mix of those colors for the darkest shadows to the foreground boat and dock. Here I keep the objects in the foreground
the darkest and gradually progress t hrough the mldtones in the middle ground to
the lightest values in the background.
STEP THREE
Now I add thicker paint to the water with horizo ntal
strokes to create some subtle movement. Although
the water is most ly white. I add some blue to the
mixture where It ripples, I refine the shapes In the
middle ground and background with lighter values
to make them appearas if they're fading into the
hazy distance. Because I've kept my use of color to a
min imum. the peaceful mood of th is hazy, un inhab
ited harbo r is more apparent.
124
Two
STEP ONE
Subtle gray shapes are all that are visible in the thick haze, so I approached
this paint ing a little differently than I usually do-once my sketch was in place.
I blocked in the midtones first. creating the overall gray tone. Notice that all the
values are just slight variations of each other; each is a mixture of ultramarine
blue, alizarin crimson, and titanium white.
Ullramllrine blu r,
w dm ium yelloll' pale,
bu,.ul sielllw,
aud wltile
U/tl"amarinf blue,
ali Z(lrili crimson,
Ulimmarille blue,
burn. siemw1
and ",iIil.e
EUCALYPTUS TREES
STEP ONE
STEPTWQ
At this stage, I start to tighten up the positive shapes by adding quick. ran
dam strokes 01 green midlnnes 10 the leaves. I also lighten up the tree trunk
with thick hi ghlights in mi~es of burnt sienna, yellow ochre, and white. Then I
strengthen the shadow of the tree on the right, and add a h(luse in the distance
to lead the viewer's eye into I he painting.
the trees. I completely ignore the details at th is point -esta blishing the right
shal'l's. colors, and values is more important.
STEP THREE
Next I add more detail to the distant mountain and middle gfound
foliage. Finally I focus completely
on the negative space, addi ng
patches of blue sky in between
the lea~es and branches of the
eucalyptus tree. Notice that I
don't paint any individual leaves
at all, yet the varying values and
brush techniques used create the
illusion thatlhere are thousands!
"5
COUNTRYSIDE
Choosing a Scene
Most artists agree that successfu l landscape paintings have a distinctive
foreground, midd le ground, and background that work together to create
a beauti fu lly balanced painting. As I drove through the countryside, I dis
covered a perfect example in this hillside scene. The mountain is the back
ground. the lush green hill an d the house are in the middle ground, and the
field is the foreground. For my painting, though, I cropped out part ofthe
foreground to create a better overall composition.
STEP
Two
126
STEP ONE
I wan t to emphasize the scale of the mountain, so I compose the scene with a low
horizon line. First I lay in the sky. Then I block in t he mountain, using a light bluegreen mix of ultramarine blue, cadmium yellow pale, alizarin crimson, and white.
I pay dose attention 10 its sil hou ette. being sure not 10 soften I he lop edge too
much - the mountain is in the background, but it's not a long distance away.
STEP THREE
Next, before I add the remaining delails, I adju51 all
my values in the distant mountain and hillsldes!O
make sure I'm conveying Ihe illusion of depth, or
atmospheric perspective. Then I sharpen the details
in the i mmediate foreground and on Ihe house 10
make them "pop" forward.
STEP FOUR
Finally. I add a few more highlights and details,
including the hint of another house and some
blooms in the foreground fo r added color. To make
the wildflowers seem scattered, I randomly dab a
mixture of cadmium orange, cadmium yellow pale,
and white sparingly across the field. This simplifi
cation keeps the foreground from drawing undue
attention.
"7
ew Yo rk; Harrow
PAINTING KNI V ES
Patnttns Knives
I think the most versatile style of
painting knife is tear-shaped with a
small, rounded tip (shown above).
This knife has no sharp angles to
accidentaUy dig into the canvas. I
occasionally use the knife in the
middle for larger detail.
'3'
SELECTING KNIVES
The Sl. de
looking across the blade, one can
see a variation of thickness from the
handle to the tip. The thickest part
of the blade is at the hilt, or handle,
and the thinnest is at the tip. This
thin blade allows for delicate appli
cation and manipulation of paint.
A sharply pointed knife tip will not
cany as much paint as one that
is slightly rounded. The rounded
tip can (Ieale delicate detail even
though the tip appears to be slightly
blunt.
rte:rible Knivu
Select a kni'e with good flexibility and spring memory. Pressi ng too hard
with a stiff knife (an damage the (anYas. With a genlle push. a fle~ible
lenife will curve and apply paint in either a thick or th in manner. Te~tUJes to
suggest plastered walls, tree trunks, ocean waves, mountain faces, and so
on, can be created .
Knife Shapes
and Sizes
Many different knife
shapes and sizes are
available (pictured
at left). Each knife
has its own charac
teristics. Very long
knives are great for
blending large areas
of color, while short
knives are good for
textures, detailS,
and smaller blends.
Knife ti ps vary as
well. Finer, smaller,
rou nded ti ps can
create more detail
than the larger,
rounded tips. A
sharp painted tip,
however, carries
very little paint.
Experiment with
different styles and
sizes to see the
effects you can
create.
HANDLING THE KN I FE
Drawing
When drawing with the ti p, hold the knife gently in
the fingers as shown. Change pressure by squeez
ing the hand le firm ly or lightly. Press as needed
while moving the kni fe to allow the paint to be
pulled from the tip. Change the a ngle to apply more
or less paint. Also twirling the knife between the
fingers can alter the now of color.
13 1
TECHNIQUES
Mlx1n&:
Loadlnc
Lu dln&dse
(_rase Stroku
Dot Strokes
SIde Stroku
'J'
Th ldt Pai nt
thin Paint
Chanslns Dlrutlons
CombIned Strokes
. ~~
' .
..
:/~
Pulling
Load the knife fully with pai nt. Place it flatly on the
canvas surface and pull. Use the handle as a guide
for making a straight pull. The paint is dragged from
the kn ife in a completely different manner than with
the side stroke. This can be used to change the
monotony of a stroke within an area of a painting
or for general color applicat ion. All strokes can be
made with any size knife.
Roiling
Load the knife aga in and place one edge on the
canvas . Start the stroke by pulling the knife and
rolli ng it sli ghtly between the fingers. This will create a broken pattern that can be used to enliven
an otherwise flat area. It can also be used to bui ld
co lor in an interesting way. Use it in combi nation
with other strokes.
Double Loading
This is another im porta nt technique. Th is means loading the
kn ife with two colors at once. A
double load creates an automatic
blend ing of the two co lors as they
are applied to the canvas. Here
are two knives loaded differently:
one with colors side by side and
the other with colors loaded top
an d bottom. Ble nds can be made
by stroking in a straight, curved, or
wavy manner.
Loading lor LInes
To paint thin lines, load the paint onto the
very edge of the knife. To do this, make a
thin smear of co lor on you r pa lette, and then
drag the trailing edge of a clean knife through
it until the right amount has built up on the
edge.
;-------
Drawing Lines
Now place the loaded edge onto the canvas
and make lines by either drawi ng the knife
upward or downward or by stampi ng or tapping
it aga inst the surface . Hold the kn ife at more
or an ang le to make the lines thinner and less
for thicker lines. It takes a little practice, but
it is worth the effort.
133
ROCKS
134
Two
STEP ONE
STEP
The following steps are an easy way to begin painting rocks using a knife. First
paint a light background by mixing white, permanent blue, and burnt sienna.
Then block in the rock mass using burnt sienna, burnt umber, and the gray mix.
Keep the mixtu re a little on the burnt sienna side for a warmer looking rock.
With a small knife, begin building the shape of the rocks us ing a mix of white, ye llow ochre, and cadm iu m orange. Build from dark to light, USi ng a side stroke to
develop the face of the rock. This also begins texture. When painting rocks, always
follow the angles of the planes. Notice how the rock begins to appear sol id.
STEP THREE
STEP FOUR
Next use the small knife with white, pe rmanent blue, and alizarin crimson to
begin blocking in color with in the shadow areas. Vary the value and warmth of
the purple to make the shadows more lively. Purple is an extremely important
color withi n shadows; however try not to make it too bright. Use a small knife to
develop these shadows and make shorter strokes than you did in the last step.
Short strokes give the illusion of texture within the shadows. Mix a lighter blue
and establish foam at the base of the rocks.
Use the small kn ife again to paint in the last highlights. Do not use pure white;
it will appear chalky. Instead use mixtures of white and a speck of cadmium
orange in combination with just a speck of yellow ochre. Paint the lightest high
lights with the tip of the knife to create a sparkle effect. Last, to set the rocks,
add light to t he water and foam at the bottom.
Two
STEP ONE
STEP
Next begin modeling the form of the rocks by adding white a nd yellow ochre to the basic rock gray.
Make small, flat tapping strokes as if patting or
sculpting the rock. Your brush strokes should follow
the shape of the rock.
STEP THREE
Once the lonms are estab lished, pain t the high lights
using a lighter mix with a speck of cad mium orange
for warmth. Use dot strokes to add to the texture,
and paint rock cavities by dragging the tip of a small
knife through the wet paint. Th is allows the dark
underpaint to show through. Then place a few high
lights next to the cracks and holes for depth with a
mix of white and a speck of permanent blue.
TREES
STEP ONE
STEP Two
Snp THREE
basic mix for distant pine trees. Next mix a little sky
blue into the tree mix 10 make them recede. Then
base. The more sky (Olor you add, Ihe more distant
Folia,1!
Branch
Stand of Trees
Above a combination of broad leaf and coniferous trees are shown in the same
setting. Light background wlor was mixed into the distant trees to create some
perspective. Notice how dark the color is on the right fo reground tree.
'35
SEASCAPE
STEP ONE
To begin this exercise, paint a simple sky using a
mixture of wh ite and ultramarine blue to the value
shown. Use a med iumsized knife and keep the
texture fairly smooth. Th is blue is warm, maki ng it
excellent for an afternoon sky. Paint a horizon haze
using white and a speck of alizarin cr imson. Use a
sawtooth stroke to blend. For the backwater, mix
a combination of equal parts of ultramarine and
cerulean blues. Th is combination creates a cobalt
blue hue that is rich and controllable. For a warme r
blue, add more ultramarine. This makes the mix
deeper and mo re purplish because of the red in
ultramarine blue. Fo r a cooler blue, add cerulean.
Cerulea n is a greenish blue and does not contain
the red that ultramarine does. Lighten this blue
with wh ite to change value. Paint a thin layer of
this color over the entire area. Keep the horizon
line straight and parallel to the top and bottom of
the picture plane and blend the ha rd edge Slightly.
Wave forms will be painted into this wet backwater
area . Use the same color and paint in the basic form
of the headla nds. Use a scrap of ca nvas to practice
these strokes.
STEP Two
STEP THREE
Next, mix white with Naples yellow and white w ith a speck of alizarin crimson.
Use the small knife and add detail to the headla nd mass. Make long curving
"pulling" strokes (as show n) to create t he waves in the backwate r. Blend this
color along the top of these strokes leaving a hard edge at the bottom. This
bu ilds form in the waves. Notice how this color is also used to build the form of
the ma jor wave.
Add yellow ochre to the blue bac kwater mix. Paint in the lights and darks of the
wave and foreground water. Add more blue to darken. Add och re and white to
ligh ten. To block in the crashing foam mass use white, ultramarine blue, and
a speck of alizarin crimson. Paint the shadow areas, and the n place the lighter
high light co lors (mixes of white, Naples yellow, and aliza rin crimson) over them.
Add white with a speck of cerulean to the bottom of the foam.
ROCKS
Paint the dark rock base uSing a mi~
of burnt umber and alizarin crimson.
Then overlay the lighter (olors for
shape and form. Gray is white with
burnt umber, orange is Naples yellow
with a speck of alizarin, and yellows
are pure Naples yellow and Naples
yellow with white. Begin the foam
uSing white with cerulean blue and
white with backwater blue.
FOAM
BRUSHSTROKES
Make sure the foam around the rock is painted to your satisfaction. It can be
accomplished later, but is much easier to complete before painti ng the rock
over it. Notke the loose applkation of the gray mix in the top area and how it is
applied to suggest openings and cracks in the rock face. Try not to blend these
lighter colors, otherwise t he rock will become smooth and appear out of place.
Notice the foam and waves on the right.
This close'up shows the wave detail and small rocks that are in the Shadow on
the right side. A great variety of strokes are used to ;lcwmplish this area. Pulling
strokes are combined with side strokes. Long and short strokes are combined
with straight and curved strokes. Stroke variation adds excitement and reality to
the scene.
WAVES
'37
MOUNTAIN LAKE
STEP ONE
For this painting, sm()oth out Ihe paint tHlmes to
Ih e desired degree, but remember that some 01 the
te~lure.
II is best to
sky, hep Ihe final blends loose for color and mood.
.\fix 41><",( +
.,
hilt a" d
~" d
,.
IVhilf . {/
,,.,.{ ~
,if
cadmium olll"g(
STEP Two
8efole using the colols below to develop the mou n
lain ra nge. refer to Ihe final painti ng and blend your
sky to a desired smoothness. The texture of the
sky should be a bit smoother than the mountains.
This tex\tlre creates depth and atmosphere. Mix
more sky colo,s into the distant mountains and less
as they move forwa,d in Ihe scene. Paint in haze
at the base of each mou ntain 10 add to the aerial
pe rspective. Establish the dark gree n land and Ihe n
refer 10 page 139 to finish your mountains while the
underpainl is wei; otherwise blends are impossible.
Use the sky colors to develop the structure of the
mountains, worki ng from dark to light. Try not to
over-blend the strokes that make up the mountain
face and texture.
5~(k~
'3 8
STEP THREE
Use the color mixes below to finis h t he foreground
and trees. Work from dark to light when building
these tree forms. Paint in t he grass using the light
yellow-green, and enhance the glow area with a
touch of pure cadmium yellow light here and there.
Pai nt the mist at the i>ase of the mountains stronger
than desired; it will fade a bit during the blending
and smoothing stage. Estai> lish and blend all of the
haze areas first, the n pull the snow and mountain
face colors down int o them. Block in all of the fo re
ground undercolors, making them appear a little
darke r in the very fro nt and a i>it lighter toward the
back. Paint in the water with wh ite and ultramarine
i>lue, and then apply the ligh test sky colors into
them as re flections. Notice how the snow masses
fade as they move down into the mists and haze.
Develop the outline of the distant t rees, then blend
all areas to desired sat isfaction.
STE P FOUR
yellow Ii!:/"
yellow liS/II
139
FOREST GLADE
STEP ONE
Mi~
Cadm;u", }dlo"'/i,l:hr ~
a lpt'd. I)J ph(h~l" blur
STEP Two
Continue usi ng the color mixtures from the last
step . and block in more of the undercololS. Use
pure yellow ochre for the warm spot 01 undertolor.
A small pond will be painted in this area. which
requires a warm undercolor to SUPl>Ort it. When
knife painting. you do not know if the paint will
remain smooth when applied . so you need to make
sure there is a sufficient foundation of coh)J before
adding any fi nal {Olin. USing the mixtures below.
begin lorming the shape olthe fallen tree trunks.
Add some ollhe green colors 10 Cleate a feeli ng 01
harmony throughout the entire painting. Add a little
more green to the log colors and establish the foreground. Addi ng more yellow and wa rm brownish
colors gives the feeting of grou nd.
Burn! umb,r +
Ipt(k "f ,,bll'
/I
Mix ut'!),, +
light )",/low-g rt'"
Whi r~ + """I'J~s
'4'
)",II"w
STEP THR
Begin e~tahli~hing more detailed textures, such as
grass and tree trunks. Use the final painting as a
guide, and create the textures while the under
paint is still wet. Use the small knife and make flat,
upward strokes to create the illusion of grass. For
the logs and bark textures, make more controlled
strokes to create a paltern that follows the length
of the trunk. Apply the cooler blue green color oW!r
the warmer undertones. Use the top mixture for the
bright sunlit glow in the distant middle ground. For
a harmonious blend, add the purple to the basic log
colors lor the shadow side 01 the tree.
Mix abo"r
p~rhalo
blur
Whir(
+ ulrromarinc blu(
lind IIli~",.jn oimsOl'
STEP FOUR
Now it is lime to place the final details. Most of
these have been trealed as the painting developed;
it is now a mailer of bringing them 10 a complete
painling . IndiYidual prelerence dictates how much
detail to put into this painting. Some artists like
a lot 01 deta il, while others prefer little detail. All
areas have been left semi rough to Show the meth
ods used to develop the work. A muth softer flnal
{<In be created by simply blending the wlors a little
more thoroughly than shown here. Add the pond by
using white and a speck of phthalo blue. Develop
the reflection on the left side using the lighter yel
low colors and, finally, a touch of white on the very
thin,left side. Add a little yellow for the green in
the middle. and keep the mi~ pure light blue on the
right. White and Naples yellow in varying degrees
of mixes are used for the flnal texture on the tree
trunk, fallen logs, and foreground. Dark leaf, bough,
and grass masses are painted in with the dark burnt
umber and phthalo blue mix. and then they are
highlighted with lighter greens. Use the knife tip for
this task. Add cadmium red light to the burnt umber
mi~es. and block in the final (olors and shapes on
the bUShes USing the knife tip. These little bUShes
add wlor, contrast, and warmth.
'4'
INDEX
A
Additives, 7, ll5
B
Barbizon chool , 114
Bark, 12, 15 , 20 , 141
Beach at dusk , 123
Beaches. See Beach at dusk ; Coastlines;
Hendry Beach ; unset beach ; Water
(ocean , beaclle , and bay )
Blending, 13 , 14, 133
Boats, 72- 73 , 78, 79,90-91 , 92- 93 , ll8
124
'
Brushe
cleani ng, 6, 7
types of, 6, 13, ll5
c
af , nighttime, 76-77
Candle, 50 , 51
Canvas. See Supports
Cannel sidewalk, 88-89
Caniers , 115
Central Park (New York ), 44-45
Chang ing direc.:tions (kn ife technique),
132
Children, 28, 54-55
Cliffs, 13
Cloud , 13 , 15 , 23, 36, 41, 48 , 49 , 52 , 56,
59 , 82 , 96 , 97 , 123
step by step, 116
Coastlines , 22 , 52-53, 82-83 , 110-111
See a!.~o Water (ocean , beache , and
bays)
Colors
analogous, 8
basic palette of, 6, 9
complementary , 8 , 26 , 99 , 100, 102
creating mood and feeli ng wi th , 8, 9,
26-27, 28, 100, 101 , ll6 , 123, 124,
132, 138
hues of, 8 , 32
inten ity of, 8
mix ing and choosi ng, 6, 7, 8, 9, 130,
132
primary, 8
secon dary , 8
tcrtiary , 8
theory of, 8-9
tints, shades, and tones of 8
values of, 8, 27,29,37, 64 , 92 , 124
D
Dab, 12, 13
Dark over light, 14
Dep th , creating, 8 , I 1, 15 , 22,34 , 58 , 59,
70, 72 , 83, 92 , 93 , 100, 101. 103 , 107,
116, 117, 127, 134, 138
Details, 15
Doorway, 70-71
Dot trokes (kn ife techniq ue), 132, 134
Drag, 12
Drawing techniques , 10-ll
Drybrush , 14
Dulcimer player, 86-87
E
Easels
and plein air pail1ling, 114, 11 5
selecti ng, 7
Ellipses, 11
Expre sio nism, 5
F
Face . ee Peopl e and face
Fat over lean , 19
Feathers, 98-99
Fences, 58 , 62 , 63 , 80, 81, 120
Figures. See People and faces
Flowers, 18-19 , 24, 26, 4l , 43 , 50-5 I, 7l ,
81 , 88 , 100-101, 110, III 120-12 l
127
"
Foliage , 12, 13 , 15, 48,49,62 , 74 , 80, 84,
88, llO , 135
See also Garden ; Grass; Leaves; Trees
Foreshortening, II
Forests, 122, 140-14 1
Fruit, 50, 51
G
Garden, 120-121
Glazing, 12, 15 , 97, 99 , 100 , 101
Grass , 12, 13 , 15,40, 41 , 44, 64, 65 , 122 ,
139, 14 1
H
Hair, 54-55,86
Hampton, Anita, 46- 59
Harbors
foggy , 124
Hawa iian, 90- 91
Hendry Beach, 56-59
Portofino , 78-79
Highlights, 12, 13 , 24
and hou e , doorway, and bu ilding ,
43,71,74, 75 , 76 , 78 , 80,84 , 85 , 88 ,
89,90
and martin i, 102, 103
and mOL1l1lain and rocks , L5 , 32 , 37 ,49,
53 , 83 , 118 , 123 , 134, 137
an d people and faces , 25 , 29. 86, 87
and roos ter, 99
and stormy sky, 116
and lree , nowers, and bu h , 34, 43 ,
49, 50,75 , 79, 84 , 88 , 89,91 , 97 ,
100, 101 , 110,117,122, 125 , 127,
135, 139, 141
and water, boats, sand , and coastline,
37, 73,78,79 , 82, 83 , 90, 91,93 , 96 , 97 ,
107, 108, 109, l l l , 136
Hills, 78, 84, 85 , 126--127
Houses
COllage and garden , 120-121
in co unt ry ide , 126-127
desert casita , 4 2- 43
mission-style Villa, 84- 85
and sunli t path , 80-81
K
Kn ives
painting, 7,12,115,130-141
palette, 7, 12 , 13,19 , 64,66, lIS,
130-131
selecting, 130
L
Lakes. See Water (lakes and ponds)
Landscapes
<.:ounlry ide, 126-127
fall, 40-41, 66-67
and scumbling, 12
spring, 48-49
M
Martini till Life , 102-103
McPherson's Pond , 66-67
Mediums and thinners, 7, 115
Monochromatic painting, 8, 27, 29
Mood. See Colors (crealing mood and
feeling wi th)
Moore , Robert, 16-29
MOUlllain lake, 138-139
Mountains, 12, 15 , 43 , 48,49,66, 1l0,
126-127,138-139
See also Rocks
N
Negative painting and space , 96, 125
o
Obenneyer, ichael, 38-45
Oceans. See Water (oceans, beaches, and
ba ys)
Oil Painting Materia ls and Their Uses
(Powell),6
One-point perspective, 10
p
Pain tin g technique , 12-1. 5,130-133
See also specific techniques; specific types
of paililing~
Paints , grades of, 6
Palette
basic, 6, 9
mixing, 7, 115
ee a/so Colol's; Knives (palette)
Palm tree , 96-97,117, 123
Path, sunlit, 80-81
R
Realism,S , 73 , 75 , 87,114, 117
Renections , 13 , 22, 23, 25 , 49 , 102, 103,
118
See also Ligh t (reneeted); Water (renection o n)
Rivers. See "'later (rivers and streams)
Rocks, 12, 13, 15 , 32-33 , 36,52, 53,
82-83 , 85,98,99, 123, 137
tep by step, I 8, 134
See a/so Mou ntains
Rolling (knife technique), 133
Rooster, 98-99
Ropes, 92-93
Roses, 50-51
5
an d, 13 ,82, 83 , 96 , 97,106 , 107, 108,
109, 110, Lll, 11 9, 123
awtooth blend, 14
Schneider, William, 60-67
crape, 13
cl'atch , 12
S umble, L2
Seas(;ape , 136-137
Serrano, Frank, 112- 127
Shading, 11
Shadows, 11, 24-25
and boats, 72, 90, 91, 92 , 93 , 124
and Central Par k, 44, 45
and clouds, 116
and ho uses, doorways, and buildings,
42 ,43,70, 78 , 84, 120 , 127
and mountains, ro(;ks, an d hills, 32, 84,
118, 123 , 134, 13 7
and nighttime cafe, 76
and people and faces, 25, 29 , 54, 86, 87
and roo te r, 99
and treet scenes, 62, 63 , 74 , 88
T
Texture, 12, 13, 32, 33,59, 71, 75, 85, 87,
92 , 93, 118, 130, 131, 132, 133, 134,
138, 141
Th ick pai nt ( technique) , 14, 132
Thin paint (techniq ue), 132
Thinners. See Mediums and thinners
Time, sense of, 123
143
131
See also specific tools
alld
materials
144
seasonal, 20- 21
in snowscape , 64-65
in spring landscape, 48-49
lep by tep, l1 7, 13in street scene, 62 , 88
See also Foliage; -orests
Two-point perspective, 10
u
Underpainting. See Toning
( underpainting)
v
Varnishes, 7
w
Waler, 22-23
colors or, 23 , 72, 78, 82, 83 , 96, 107,
110, U8, 136
har bors and piers, 78- 79, 90- 9 1, 119,
124
z
Zimmermann , Caroline, 94-)03