As always we began with an underpainting and for this one we used a bright yellow and white stain. Then we mapped in the horizon and the different plains of land in the distance. In class we went over perspective drawing and some drawing basics. Then we added the sky with cobalt and white gradiating dark to light from top to bottom of the sky to create distance.
Here we worked on clouds. For clouds, when wet on wet, the paint needs to be very thick when added onto the sky. Then feather the top of the cloud and smoooth from left to right the bottom of the cloud. Use the blue to add under the clouds and in some areas on the clouds for its dark underneath. This allows the cloud to “hover” in the sky, as opposed to just floating in the sky. Clouds are larger at the top of the sky, and gradually get smaller at the bottom of the sky. This creates distance in the sky.
Now we add the distant trees with a bristle brush, the flat part of the brush. Colors are sap green mixed with raw umber and a tiny amount of white. The white dulls the trees a bit in comparison with the ones on the left of the painting (shown next) so it creates a feeling of distance. You can see this in the full view shot.
Here shows the left side same technique and colors except without white. Use darks first and then add lights around and over top of the darks. You can also add darks and lights next to each other so you are not working wet on wet. The light part of the trees shows better when you do this “ala prima” approach. Next image shows full view.
Now we add the house leaving some sky around it. We break it down to 3 basic shapes and values with very little detail since it is so small in the painting. Just an indication is needed. Here is a close up and distant shot.
Now lay in the distant plains with light green and soft wheat colors. Mix white and sap green, and white and yellow with burnt sienna. Use very little color since we are trying to create a tint which will create distance.
On the left side of the painting below the trees, add the grass lands with the upward stroke of a flat brush alternating colors so to simulate the different grasses and flowers growing. Work back and forth between colors.
Use longer strokes with a flat bristle brush in the foreground for the taller grasses. Use colors white and sap, white and yellow, and sap and blue. Use more yellow than green since we do not want the painting to look too green. Continue this all in the foreground. (The closeup shot is 2 photos prior.)
Here shows the foreground undertone of grasses completed. Next we will add stems.
Now add stems from bottom to top with a dagger brush and use these 3 color mixes and any other colors you may choose- cobalt, white and purple, raw umber and burnt sienna, and sap green.
Here’s a full view. We will start to add in the flowers on the stems and build the foreground next week. The flowers are rose, purple and white. Use more white for the lighter value areas in the flowers.
Now add stems of the maroon color for the Blazing Star flowers. The maroon mix is purple, burnt sienna and a little white. Be sure there is enough “fill in” and in different levels so it seems like there is a “field” of these flowers. This is the support for the flowers once they are added.
Now we continue to add the blazing star. This shows the dark maroon used to start the flower. See the one without the purple rose flower on it as the example.
Next add the flowers- the mixture is rose, purple and white. Mix values of this color mixture, a light and a dark, and use all 3 where needed starting with the midtone.
Here shows a highlight of the color added to the flower.
And the dark value of the rose mix added here. You also can add some rose to give the flower more vibrancy in certain areas.
Here is the full view completed! Hope you enjoyed this one!!