By; Bryan Smith
This
is the process I used for any of my studio paintings
12x10” ply coated with 3 coats of gesso each one being sanded down
The subject was loosely drawn on to the board with 3h graphite pencil
Then using an eraser most of the lines taken out so the graphite does not muddy any of the blocking in colours
12x10” ply coated with 3 coats of gesso each one being sanded down
The subject was loosely drawn on to the board with 3h graphite pencil
Then using an eraser most of the lines taken out so the graphite does not muddy any of the blocking in colours
Blocking in was done with Windsor & Newton Acrylic and I used water to thin the paint where necessary
After the blocking was dry I used Windsor & Newton oil paint with Liquin original and turpentine substitute as mediums
My next stage was to paint the sky as I always start furthest away and work forward
Once
the sky was completed I established where the horizon was going to be and
painted that ensuring the hue was right to give the areal perspective
I then continued the horizon to the right of the picture first by putting in the darker areas using Ivory Black mixed with liquin original using a Rosemary and co TreeAnd Texture brush. Then added the mid tones using a Rigger brush no 2 also from Rosemary and co thinning the paint to a milk like consistency. I would leave this area to dry while I added the dark tones on the trees on the left of the picture, at this stage adding the dark tones to all the trees at once saves having to go back time after time.
I then continued the horizon to the right of the picture first by putting in the darker areas using Ivory Black mixed with liquin original using a Rosemary and co TreeAnd Texture brush. Then added the mid tones using a Rigger brush no 2 also from Rosemary and co thinning the paint to a milk like consistency. I would leave this area to dry while I added the dark tones on the trees on the left of the picture, at this stage adding the dark tones to all the trees at once saves having to go back time after time.
I
then starting with the tree furthest away I added the mid tones one tree at a
time.
Time to put the first coat on the water using the same colours but a little darker for the reflections once this area was dry I added glazes of these colours and in the shallow water the colour from the ground.
While this was drying I started on the bank on the right using different shades of the same colours to add depth I used a R&Co flat 16 for this adding details with a rigger brush.
Before starting to paint the ripples on the water I decided to paint the high lites to the trees, I did this by using a no 4 fan brush, using the very edge and corner of the brush for some marks, a rigger brush and a round bristle brush to give a variation in the marks made.
The wall was next and was fairly straight forward using the no 16 flat and the rigger brush
Once the wall was done I added the reflection colours to the water.
The ripples were painted using a no 0 rigger brush. To establish the ripple direction I used a mid tone blue/grey mix as this can be seen on both light and dark areas of the water. In order to soften the light and dark tones using the rigger brush I put the light marks into the dark area and the dark marks into the light. From the reference photo I could see there was a dark area just under each of the ripples. This was done by mixing a darker version of the water where the ripples were. Once done I added the high lights.
The final part was the forward bank which was done using the same technique as the bank on the left.
Time to put the first coat on the water using the same colours but a little darker for the reflections once this area was dry I added glazes of these colours and in the shallow water the colour from the ground.
While this was drying I started on the bank on the right using different shades of the same colours to add depth I used a R&Co flat 16 for this adding details with a rigger brush.
Before starting to paint the ripples on the water I decided to paint the high lites to the trees, I did this by using a no 4 fan brush, using the very edge and corner of the brush for some marks, a rigger brush and a round bristle brush to give a variation in the marks made.
The wall was next and was fairly straight forward using the no 16 flat and the rigger brush
Once the wall was done I added the reflection colours to the water.
The ripples were painted using a no 0 rigger brush. To establish the ripple direction I used a mid tone blue/grey mix as this can be seen on both light and dark areas of the water. In order to soften the light and dark tones using the rigger brush I put the light marks into the dark area and the dark marks into the light. From the reference photo I could see there was a dark area just under each of the ripples. This was done by mixing a darker version of the water where the ripples were. Once done I added the high lights.
The final part was the forward bank which was done using the same technique as the bank on the left.
Signed
as finished.
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