Landscape Painting Lesson – How to Render & Simplify Trees
This landscape painting lesson is courtesy of Barry Waldman of Interactive Art School.
A Revolutionary Way to Learn to Draw & Paint
Student uses a Digital Camera (supplied in your Student Sign Up Kit along with Textbooks & Supplies) to take digital photos of their completed assigned Lesson Artwork for each lesson. The student sends those photos as email attachments to the teacher who draws, paints & comments on the work & posts a critique of each lesson on our WEB site, a personalized How-To-Do-It-Better Critique for the student to view 24/7/365.
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Landscape Painting Lesson – Simplify Trees
A sculptor student asked about how one does images of trees and further how to simplify them as the complexity of painting a million leaves can make an artist batty. Some painters and sculptors want to paint every leaf…bless them…for the rest of us this mini-lesson is about:
A. Making realistic trees
B. Simplifying those trees in our images (paintings, drawings, sculpture)
First there are countless kinds of trees and then millions of variations within those– two shown here, they couldn’t be more different
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(above left: photo of wide tree…….above right bare trees from my painting “Snow Gardens” below:)
We could go on and on with many other tree shapes, sizes and variations, but let’s focus on one tree, analyze it in the following steps:
I. Let’s figure out how to make the tree real
II. Let’s explore how to simplify the real tree we create in various degrees of simplicity
On the left below is a photo of a row of Magnolia trees… confusing, right?
As a reference for a painting…lets analyze one tree:
1. The original photo
2. That photo made more contrasty to start to see the form better revealed (this is done here with photo manipulation in sketching in nature you would squint your eyes to achieve this effect)
3. I did a 3d model of the tree to show its basic underlying form
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A tree – like everything we see, has a basic form or a series of basic forms as its understructure. Students often get lost, particularly with trees, in painting each leaf …while to make it real its underlying structure needs to be communicated.
To make an object seem solid, one needs to understand the following:
Study the above and also the mini-Lessons on Form (click on the blue links below):
One needs to mass the tones in groups based on the above — the darkest tones on the shadow sides of objects, middle tones in the transitions from light to dark and the lighted tones in the most light stuck areas of an object.
Just below is a painting of a group of leaves from the tree photographed above (you can paint the rest of the tree in this level of detail – I’m just not going to do it …it would take almost forever)
Now lets explore how to paint the tree simpler, then still simpler: on the left is the original photo, then a simpler painted version, then an even simpler version on the extreme right:
Left is a reprise of the source photo from above……then, the tree painted to be round in lots of colors and values…. then the another interpretation SIMPLIFIED—into three tonal masses
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In my paintings above, I eliminated the sky and simplified the outer shape of the tree to better demonstrate the principals of form and the simplification.
In the right hand most simplified tree, I used only THREE color mixtures to paint the tree On the left hand side is the transitional middles tone Up through the middle is the light struck tone…then some middle tones again to step down from the high tones of the light struck leaf masses…. and…on the right side I have massed the darks…the resulting tree is simple but solid…no details, not painted leaf by leaf
POSTERIZED: Simpler still– areas are divided into a few colors – tree leaf area into just light stuck side and shadow side
(See Wikipedia definition of “POSTERIZATION” at: http://en.wikipedia.org/wiki/Posterization
The ultimate simplification- silhouette…First in black and white…
Then – silhouetted “forest” in color:
The trees in the foreground are darker and more vibrant (more intense color green… while the taller “forest” behind is a lighter and bluer, less intense color blue-green— this is a reflection of the concept of “atmospheric perspective”…as things get further from the viewer’s eye… they get light in tone, less chromatic (color intensive) and have less contrast (see
mini Online Lesson 4) for a fuller exploration of atmospheric perspective.
To see examples of simplified trees -see the work of these painters and photographers:
Edward Hopper*
http://imagecache2.allposters.com/images/pic/MCG/FH536~Gas -1940-Posters.jpg
http://ursispaltenstein.ch/blog/images/uploads_img/hopper_2.jpg
http://www.tate.org.uk/research/tateresearch/tatepapers/06autumn/images/jenkins_fig2large.jpg
_______________________________________________ and
Fairfield Porter
http://www.tfaoi.com/am/10am/10am132.jpg
http://upload.wikimedia.org/wikipedia/en/thumb/e/ec/Fairfield_Porter’s
http://www.tfaoi.com/cm/3cm/3cm617.jpg
also:
Fairfield Porter on Mark Harden’s “Artchive” Painting titled “Amherst Campus“:
http://www.artchive.com/artchive/P/porter/porter_amherst.jpg.html
Fairfield Porter on:
The Bridgeman Art Library:
_______________________________________________
and
Ansel Adams
http://www.blognow.com.au/uploads/l/Llennodo/19959.jpg
http://doors.stanford.edu/ansel-adams/iceberg-panorama.jpg
_______________________________________________
and
Edward Hopper
* A note about Edward Hopper, the great American Illustrator and Painter – he was a master of “leaving out”, or simplifying… you can see it in his trees, his people, his houses and interiors…he leaves out detail…one fact few observers notice is that there is no glass in any windows Hopper ever painted. Study his most famous paining “Nighthawks” a picture of people seen in a late night diner in Manhattan, NYC through windows – NO GLASS.(Yes, there is a hint of it at the far left where the window curves around the corner – but not in the large part of the diner window and also, look across the street at the shop windows “Nighthawks” can be seen on the Artchive website at:
http://www.artchive.com/artchive/H/hopper/nighthwk.jpg.html
Look at the other Hoppers on the Artchive site like “Chop Suey”
http://www.artchive.com/artchive/H/hopper.html
Once you get to the Hopper bio at the page above, click on the “VIEW IMAGE LIST“
To sign up for the course, click here.
Tuscan Landscape – Acrylic Painting Tutorial By Julie Shoemaker
About Julie
I am a self taught artist who has been painting and interested in art all my life. My favorite medium is acrylic due to its versatility. One of my favorite things to do is teach painting to other people. I currently teach classes and we couldn’t have more fun if we tried. It’s just so gratifying to see the excitement on student’s faces when they see what they can accomplish with a little instruction and effort. When your ready to forget the theory and produce the art, visit http://www.IamPainting.org. Learn Painting Techniques and create your own remarkable portraits or landscapes.
Tuscan Landscape – Acrylic Painting Tutorial By Julie Shoemaker
Use whichever brush you feel comfortable with. I usually use a flat bristle brush for most of my work. And remember there is no right or wrong way to paint! If your painting doesn’t turn out like mine – then congratulations! You created a unique one of a kind painting.
Sky – First wet the sky area or top half of canvas with white gesso.
Then with a little yellow and a touch of orange added to the same brush, start at bottom of the sky area and work your way up. Use long horizontal strokes. Take the strokes right off the canvas while blending the yellows and orange into the white gesso as you work upward. Gently blend right up towards the top of canvas. Wipe the brush off with a paper towel.
Now add a touch of ultramarine blue and purple to the brush and start at the top of the canvas and work your way downward in the same fashion as you did the yellows.
The bottom part of the painting is under painted with any earth tone colors. Nothing fancy here!
Use sky colors (a mixture of white blue and purple) and paint in furthest hills – mountains. Notice how these hills show very little detail and are very soft looking.
Darken the mountain (sky) color and paint in next layer of hills. You want to make sure that you let some of the previous mountains show. Keep the tops interesting with some variations.
Add some earth tone to the very distant hills. You can use browns, tan, etc. Keep it dull though. Just add white to dull paint color. These are in the center of painting.
Add some hunter green and start dabbing or scrubbing in the bushes. This should be a dull green.
Landscapes typically get darker and more vivid as you work forward.
Lay in the foreground hills. (you will do the one the left first) Make this one lighter to look like sunlight is hitting it.
To do this start on the left of the painting and pull the paint brush into the center of the painting. Notice the slope of this hill. If you want you could add some rows of green for a field of crops look. (see next picture)
Now darken the mixture and add the hill on the right. Darken it with browns or tans. Too much green will make your picture look unnatural. This hill will be painted the same way but starting on the right side of the painting pulling the paint into the painting and overlapping the previous hill. Continue painting until the entire canvas is covered.
Don’t over blend! Let variations of color show.
Now start adding the tall trees.
If you are using a flat bristle brush, hold it on the side and dab on the paint in the shape of the tree.
In the background they will be duller – or lighter. The ones in the foreground are hunter green. Add purple to the paint to darken the side that will be in shadow.
Add some tree shadows to the ground.
Add one more foreground hill in the very front. The more layers – the more depth your painting will have
Add touches of reds or oranges for flowers, and some tiny shadows if you want to. Highlight the trees. (use yellow or light green and dab in brightness on the sun side of the trees)
You could easily be finished with your painting now, and let the dramatic tall tree shadows be the focus.
Or…Add some houses. Just draw in simple house shapes paint in the shapes with “dirty white “ and red for roofs. For shadows on the house, darken the roof color under the eaves. Dry brush in some white for highlights on the roof. Add a touch of orange for lights in the houses.
Add birds – Birds are just little v’s – Practice first and keep then dainty! and sign your painting….
Landscape Drawing Tutorial – How to Draw Skies and Clouds
About Diane Wright
In 2002, I picked up my art pencil again after 20+ years. During this break, I devoted my time to my family and building a career. Even though I earned my Bachelor of Fine Art degree at the University of Northern Iowa, my career path ventured away from the fine arts. I am currently an IT Manager at a medical auditing firm in Des Moines, IA. My children are in college and it’s now time for me to explore my arts again! I live with my wonderful husband, Les, in the small town of Mitchellville, Iowa.
– Diane Wright
To learn more about Diane and to view her work, please visit her website:
http://www.dianewrightfineart.com/
Drawing Tutorial – How to Draw Skies and Clouds
Start by just looking up.
Ever since a fellow artist challenged me to include a sky in one of my drawings, I have been keeping my mind in the clouds. I am continually amazed at the beauty of just looking up in the sky! Over the past couple of years, I have been learning the importance of toning the sky and adding clouds as part of overall compositional improvement in my landscapes. I think I could spend hours and hours fiddling with each puff of white!
Start looking up to the sky and observe cloud formations. Take photos of clouds and you will be amazed at what you will start to “see”!
What’s the purpose of a sky?
Is it important to put a sky in? There isn’t any clouds in the sky so why should I shade it? I use to think this and if you visit my website, you will see many of my earlier works did not include a toned sky. For a long time I didn’t even “see” tone in the sky. It wasn’t until recently that I realized the impact of adding a toned sky to the overall landscape. Here are some of the things a toned sky will do for your drawing:
- Broadens the range of tones available in your drawing. The white of the paper can now represent the highlights only.
- Creates uniformity to your drawing composition
- Adds an additional sense of reality to your landscape.
- Adds atmosphere and sets the ‘mood’ of the scene.
Here is a drawing done to illustrate the importance of a toned sky and why the sky/clouds should be considered in the overall compositional study of any landscape.
In this series of drawings, I have chosen to a very simple scene with a white barn. My only variable in the three drawings is the inclusion of a sky and clouds.
The first image is a drawing without a sky. The drawing is very stark and the sky (the white of the paper) is competing with the white of the barn.
The second image is much better by adding a toned sky. The white barn is now the focal point as the toned sky accentuates and brings the entire scene together much better.
The third image incorporates a toned sky as well as including clouds. The clouds add depth to the scene as the clouds recede into the distance. They also create a visual directional flow for the viewer. The clouds lead the eye through the drawing and add interest as well.
Cloud Formations and Cloud Types
- Stratus – Wispy light clouds
- Cumulus – white puffy…cottony
- Dramatic – rain clouds – thunderheads
- Back lit clouds – sunsets
TIPS:
- Skies are lighter at the horizon and go darker as you go up the sky
- Clouds use perspective – smaller and tighter the farther in the distance they are
- Unless the sky is the central part of the drawing, light wispy or under-stated clouds work well
- Use clouds to lead the viewer through your landscape
- Clouds have form and are 3 dimensional – they just don’t have any lines are hard edges
- The more dramatic clouds – the darker the base tone should be (this allows more range of
tones)
Drawing Materials:
This is a very specific list of the materials that I use. Substitutions can certainly be used. Experimentation and adjustments are expected to customize these techniques to your style of drawing.
- .5 mm Mechanical Pencils F and 2H lead
- Chamois
- Tortillion – small
- Blu-Tack
- White plastic eraser
- Small Ruler or T-square
- Strathmore 300 Series Bristol Board
- Make-up brush
4 Steps – Drawing a Sky with Clouds:
STEP 1 – CROSS-HATCHING
I use a loose-hold hand position when creating the cross-hatching. I find the just weight of the pencil on the paper will create pencil strokes that are light and consistent.
I cross-hatch 3 layers of graphite onto my paper using the F lead. The first layer is placed horizontal on the surface, the next two layers are diagonal.
STEP 2 – BLENDING
Using a chamois wrapped around my index finger, I blend the graphite smooth. Chamois with a firm, and even pressure. It may take several passes with the chamois to create a smooth even tone. Be sure to blend over the edges of the drawing area as well as overlapping the buildings, trees and horizon areas. It is much easier to erase than to add a missed section later.
Avoid touching the surface of the paper with your fingers. It is at this point in the blending process that blemishes or finger prints will magically appear. If they appear, it is very difficult to fix (unless they happen to be in a cloud formation) and many times I just have to start over!
I will add 2 more layers of crosshatching with 2H lead and blend with the chamois again. This creates a nice smooth finish. I trim the edges of the drawing using a t-square ruler and a plastic eraser.
STEP 3 – LIFTING OUT THE CLOUDS
I use a mars plastic eraser with a chisel edge and erase my clouds into the sky. For light wispy clouds I use blu-tak and just drag it across the surface.
STEP 4 – DETAILING
Use a 2H lead pencil to layer in darker areas next to the whitest tops of the clouds. A tortillion is used to blend in and work in the details. By blending, lifting, erasing and layering in more graphite, the clouds emerge on the paper.
I soften the clouds by using the blu-tack. To make more dramatic clouds darken the background sky. This allows white cottony clouds to be more fully formed. Keep in mind that unless your drawing’s emphasis is the clouds, they should not compete with the rest of the landscape. They should be subtle and gently lead the viewer’s eye through the scene. Typically I use light wisps and hints of clouds in most of my landscapes.
I usually spend 5-8 hours just drawing the sky and cloud areas. PATIENCE is key in creating smooth skies.
Once you the basic technique of creating smooth tones and general cloud formations, the sky is the limit to all the possibilities and variations you can create. Every moment… every hour… every day…every season…the sky changes it’s mood and design, providing us with an unlimited resource of inspiration to our landscapes.
Sunsets & Dusk Images
Here is a quick study (less than an hour) on clouds in the early evening just as the sun is thinking about setting. The clouds are backlit by the sun and are darker than the sky. The trees are mostly in shadow and most of the details are subdued. This is a small drawing only 4.5″ x 7″. The sky is a lighter tone than the clouds and is just a reverse of regular clouds.
Landscape Painting Demonstration by Dan Schultz
Artist’s Statement
Visual art is a language — a means of communication. As an artist, I realize that something is communicated through my work each time it is viewed whether it’s what I want to communicate, or something entirely different that is brought to the experience by the viewer. But as I communicate using this visual language through images of people, images of landscapes, and sometimes images that combine the two, I hope to relate to others the beauty of God’s creation and that through it, I believe he communicates with us. I feel that it is my responsibility to help remind others of the importance of visual art and that it can be admired, embraced, enjoyed and understood.
My interest in making artwork that portrays people stems from my intrigue with people’s ability to create connections between each other. I have long enjoyed creating images of people whether it be a portrait, a child or a woman in a tranquil landscape. I believe that people can easily relate on a personal level to images of other people. And it seems like everyone can relate to an image of a landscape that reminds them of a favorite place. When I work outdoors — standing at my easel with the landscape laid out before me — I feel a connection to the scene that I’m painting. And each time, I feel like I see more beauty in the world than I did the time before.
In order to capture these connections and relate them to the viewer, I often choose a color scheme that is simple and harmonious, which makes my paintings sometimes appear to have one overall dominant color. This allows me to express my connection with each work of art I create, and allows the viewer to experience a direct connection back to the me as the artist. I also experience this connection while viewing favorite works by other artists. They transport me to another world — one of exciting color, texture and emotion that can lift my spirit and renew my passion as an artist. I believe that you too can liberate your senses through the wonder of art and discover that it speaks to you. It only takes a few moments to begin to understand the language, and as you learn, it will become even more meaningful.
Visit Dan’s site to view more of his work and to learn more about him:
http://www.danschultzfineart.com/
Sign Up For Dan’s Email Newsletter
Every month or so, Dan sends out announcements about new artwork, upcoming shows and other news. If you would like to receive these announcements please take a moment to sign up for his newsletter by following the link below:
Please click here to reach Dan’s Newsletter Sign Up Form
Step By Step Landscape Painting Demonstration
Step 1: Prepare to Paint
For this 18″ x 24″ studio painting I used Claessens double-oil-primed linen canvas, #15 (my usual painting surface), mounted on 1/2″ Gator Board. I applied an initial wash to the canvas with a color that I hoped would end up being pretty close to my final color for the creek bed in the foreground. I don’t use any medium with my paint, just mineral spirits (Gamsol made by Gamblin) that I sometimes use to thin the paint (which I did for the initial wash, then lightly wiped it with a paper towel). I also laid out all my palette colors (listed below).
Brushes:
Holbein Killington bristle flats and Utrecht bristle flats, sizes 2 – 12
Royal Langnickel sable flats (series 5590), sizes 2 – 12
Assorted palette knives for painting, mixing paint and cleaning my palette
Paint:
(Starting from the bottom left on my palette and working upwards and to the right.)
Titanium White (Utrecht)
Cadmium Lemon (Winsor & Newton)
Cadmium Yellow (M. Graham & Co.)
Cadmium Yellow Deep (Utrecht)
Yellow Ochre (Winsor & Newton)
Cadmium Red (M. Graham & Co.)
Venetian Red (Gamblin)
Permanent Alizarin Crimson (Gamblin)
Transparent Oxide Red (Rembrandt)
Viridian (Gamblin)
Cobalt Blue (Winsor & Newton)
Ultramarine Deep (Rembrandt)
Ivory Black (M. Graham & Co.)
The last pile is a gray mixture made from mixing the leftover paint on my palette from my last painting.
Step 2: Draw the Scene on the Canvas
Using a #4 Holbein Killington bristle flat brush, I used some of the gray mixture on my palette to draw my scene. (It really doesn’t matter much what color is used for the drawing since it will eventually be covered up anyway. I usually just try to use a color that isn’t too intense and that is dark enough in value for me to see it over the initial wash.) I thinned the paint with some mineral spirits so that it would flow off my brush easily and tried to keep the drawing simple and accurate.
Step 3: Start the Block-In
My next step was to determine the color and value of my darker foreground shadows and to mix it right next to the color I used for the drawing step. I had already decided that I wanted those shadows to be lighter than I had painted them in the plein air painting, so I compared the shadows between the two paintings to make sure I was on the right track. I used a #6 Utrecht bristle flat brush for these block-in steps while being careful to keep my paint consistency just thick enough to cover each area. (I apply thicker paint in certain areas later in the process.)
Step 4: Continue the Block-In
I then continued to the shapes next to the shadows and blocked them in with the approximate values and colors of each shape. (Notice that I continue to mix the colors on my palette right next to (touching) the other colors. This allows me to squint and compare the values right on my palette, then I can double-check value and color accuracy once I block in the shapes on the canvas.) Throughout this process, I did a lot of squinting at my palette mixtures, my source painting and at the larger painting to compare the value relationships between shapes.
Step 5: Continue the Block-In
Next, I continued by blocking in the mountain areas while trying to keep them simple. I wanted to get the majority of the canvas covered with the most accurate values and colors I could before I got into much detail. (It gets easier to accurately compare values and colors as more of the canvas gets covered.) Notice that I continued to work outward from my initial block-in areas to the areas next to them.
Step 6: Continue the Block-In
I began to fill in the lighter tree areas while continuing my efforts to keep the shapes simple. I used a #2 Holbein Killington bristle flat brush in some of those smaller shapes in the trees, and applied the paint a little more thickly.
Step 7: Continue the Block-In
Using the #6 Utrecht bristle flat brush again, I filled in the sky, but didn’t try to complete it yet with clouds, etc. You can see now that my initial wash on the canvas has definitely helped my process. If I had been working up to this point on a white canvas, almost the entire bottom portion of the painting would be glaring white (making it more difficult to compare the values and colors of my other shapes). Thankfully, the initial wash ended up being fairly close to the color I wanted for the creek bed.
Step 8: Continue the Block-In
Next, I blocked in a color for the whole creek bed and started to place the areas of water.
Step 9: Refine the Shapes
After all that block-in work, I finally began to refine some shapes by adding details. Since my focal area is just to the right of center in the painting (the bright trees and the reflecting water in the creek bed), I started refining there first. That way I could compare all the other areas in the painting to that area, letting it predominate with the most details. In this and the following refining steps, I began using #2, #4 and #6 Royal Langnickel sable flats. Their softness allows paint to be easily applied on top of wet paint, even if the paint is thick. They are also very useful for softening edges.
Step 10: Refining
In this step, I revisited my initial shadow areas to bring them to more of a finish. I still tried to keep them simple and somewhat stylized rather than smooth them out. This helps add some excitement to those areas.
Step 11: Refining
I realized that the color I had chosen for the creek bed was more intense than I wanted, so I repainted that whole area and then added details there.
Step 12: Refining
Next, I returned to the mountain areas to add details. Throughout all these refining steps, I continued comparing back to my focal area so that it would still be the most dominant.
Step 13: Refining
The last area to complete was the sky which I wanted to break up with a few clouds. There weren’t really any in my plein air piece, so I figured out a design that would work for that area. I also decided to give shapes to the clouds that would mirror the shapes of the trees below, which would help unify the background and the foreground. Then I looked over the whole painting to make sure every part was working well, and made adjustments where they were needed. In these last few steps, I repeatedly checked the painting’s reflection in a mirror. Seeing the image in reverse helps me find mistakes that I’ve missed. Often an edge that is too sharp or a distracting brush stroke needs to be softened.
Step 14: Varnish
All that I did for this last step was to sign the painting and varnish it. I can often get a better photo of the painting (with less glare) once it is dry and has been varnished. I included some close-up photos below.
Sand Creek · Oil on Linen · 18 x 24 inches
Available from Dan Schultz Fine Art
How to Paint Shadows in Your Landscape and Still Life Paintings
My favorite type of shadow is a simple cast shadow. If an object is blocking the sun or light source, a shadow will be cast. Cast shadows should be painted with colors that are similar to the object itself with some warm colors added. You use warm colors, red, yellow and orange because the sun is warm. So if the sun is the light source and the object is a blue vase you would take the blue and warm it a bit with one of the warm colors mentioned to dry-brush in the shadow
For landscape paintings, the value of shadows depends on the time of day. Early morning shadows are longer and darker while afternoon shadows shorter are lighter. Following the rule that the shadow is nearly 50 percent darker than the portion of the object that is in the light will generally work well.
The direction and size of the shadow should also be carefully thought out. In the example of the blue vase, lets’ say the light is coming from a window above the vase and on the left. Since the light source is higher than the object the shadow will be cast at an angle. So a shadow on the right side of the vase and extending lower than the vase would make a realistic shadow.
The length of the shadow is also important. Using the vase example again, you certainly wouldn’t create a shadow that is twice as long as the vase itself. This would not look realistic. A short or the same size as the vase shadow would be more realistic. Try to imagine in real life situations what would happen. For landscape paintings the length of a shadow also depends on the time of day. If the sun is high in the sky, sometimes, there is little to almost no shadow cast. Imagine its’ six o’clock in the evening, and there will be a quite long shadow. Sometimes the shadows are twice as long as the subjects are.
To actually paint in the shadow you must start the shadow directly beneath or to the side of the subject. There can be a highlight on the subject but not the shadow. The shadow usually fades as you work away from the subject. So decide where it will be and paint it in, dark near the subject and using a scrubbing technique and less paint, fade as you work outward.
The last thing to remember about shadows is consistency. For example, if you are working on a landscape and there are several trees, they should all have similar shadows. Buildings should all have similar shadows. Don’t forget the chimneys.
Shadows really do create drama and add realism to landscape and still life alike. Don’t be afraid to use them, but do so carefully and thoughtfully.
Julie Shoemaker is an avid painter and hobbyist who regularly gives paintings as gifts to family and friends. To read more articles like the one here, and to see more free art tips, tricks and techniques and free step by step lessons Learn Painting Techniques or visit http://www.IamPainting.org.
Article Source: http://EzineArticles.com/?expert=Julie_Shoemaker
http://EzineArticles.com/?How-to-Paint-Shadows-in-Your-Landscape-and-Still-Life-Paintings&id=1840608
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