Indholdsfortegnelse for Paint & Draw: Landscapes i Paint & Draw: Landscapes

Landscapes are probably the most popular muse for beginner and expert artists alike and it’s easy to see why – especially with inspritational works from the likes of Turner, Constable, Monet and Van Gogh to influence your artistry. So for those who are just getting started, or artists looking to improve on their techniques, Paint & Draw: Landscapes is here to help. With handy tutorials covering everything from the basics of composition to painting landscapes using a variety of techniques and mediums, uncover how to create your best landscape masterpieces. We’ll cover painting with oils, watercolours, pastels and acrylics as well as how to mount and frame your finished creations. Whether you want to paint inside or en plein air, from memory or not, we’ve got everything you need. So…

1 Value This composition has muted colours, but has plenty of contrast from the relationship between the dark shadows and the lights of the items in the shed, and the dark bucket in the light grass. 2 Saturation Saturated colours around the shed and the cart wheels give them more visual dominance. Note how the red and yellow areas are neighboured by greys to maximise this. 3 Hue Here contrast is more focused on the colour itself, with the yellow wheel being surrounded by purple shadow and the red cart with green. Complementary colours create the maximum hue contrast.…

THROUGHOUT YEARS of working as a professional artist, I have experimented with a number of purchased greens but have always found them unsatisfactory. Viridian is useful, but only for seascapes. On rare occasions I use Hookers Green, but even though it’s a fairly subtle colour it can overwhelm more delicate pigments. Here, I would like to demonstrate how a wide range of pleasant greens can be obtained from mixing basic pigments. Follow these steps… 1 When creating the painting below, the greens needed to be stronger as I approached the foreground. I used Ultramarine mixed with Lemon Yellow and a touch of Raw Sienna, with highlights of Cadmium Yellow and Cadmium Orange. The latter are strong pigments and must be used with care. To vary the intensity of colours, I painted…

Materials ◻ Winsor and Newton (Professional Water Colour range): Burnt Sienna, Burnt Umber, Cobalt Blue, Ultramarine Blue, Brown Madder, Light Red, Indian Red, Cadmium Red, Permanent Magenta or Alizarin Crimson and Winsor Blue (green shade)◻ Brushes – a one inch Hake brush for the broad washes and EscodaPerla(8and12) for the architectural details and a rigger brush for the trees◻ Paper – Whatman Not 140lb (300gsm), size one-quarter Imperial (11 x 15 inches) – Whatman is whiter than some watercolour paper and is ideal for snow scenes◻ 2B pencil◻ Putty rubber I was in the English Lake District in the early 1980s just after I had taken up watercolour painting as a hobby. It was late November and there had been a fresh fall of snow. Taking the road towards Derwent…

Materials David used Daler-Rowney Cryla Artists’ Acrylic paints, Homebase tester paint pots and Berger satin emulsion paints. He paints with hog brushes for drawing and underpainting, and uses fine liners for the detail. The canvas was a 76x51cm Winsor & Newton primed canvas. The paintings are finished with Golden – MSA Varnish (Satin). When I create my paintings, they’re all about colour, composition and memory of a place, rather than a faithful representation of somewhere. I like to have fun and use paint in a decorative way. When painting scenes like the one in this workshop, I tend to use houses for a compositional affect rather than reality, and I always paint places I know well – working this way gives me the freedom to be flexible. I find if I…

Materials ◻ Liquitex Heavy Body Acrylics in Titanium White, Cadmium Yellow Medium, Alizarin Crimson, Cerulean Blue, Cobalt Blue and Ultramarine Blue◻ Daler Rowney Cryla Acrylics in Yellow Ochre and Cadmium Orange◻ Flat wash brushes in 1 inch and ¾ inch, Round synthetic watercolour brushes in sizes 6 and 8, and a rigger brus◻ Golden Acrylic Gloss Gel I'm very fortunate to live in the French countryside surrounded by oak woodland. In these beautiful vistas, I often take my dog for an evening walk as the sun goes down. I wanted to try and capture this special time of day after sundown when the light fades and I head back home. I worked from sketches and memory in this painting and found acrylic to be the perfect medium to explore my…

The composition of an image is the arrangement and relationship between the elements it contains. This is an abstract property that lets us reduce images down their to basic elements, devoid of any identifying details. By looking past the ‘window dressing’ of details, we can use composition to create more appealing images with greater emotional impact. Composition allows us to make the most of a subject. A crude drawing can be interesting with good composition. However, an otherwise masterful painting will look boring if the composition is bad; one might appreciate the execution, but it won’t be eye-catching. In landscapes, composition is an essential tool, as it allows us to reduce the complex scenery around us into pictures. Everything we see is material we can select from, and manipulate in…

1 Contrasting edges Red and green colour contrasts create an immediate focal point in this compositional sketch. Different colour edges have been introduced by using a saturated red above the green and a desaturated red below. 2 Focal point The saturation of the red and green has been increased in the top left, creating a focal point. This is balanced by making these colours duller along the top edge of the bush. 3 Odd ones out In the row of white flowers that are sprinkled across the composition, there are a few red ones to emphasise the focal point. Note that these flowers are distributed in an uneven way.…

1 Blue skies ahead The blue sky in this landscape sits above all the drama happening below, so it was important to get just the right mix. The blue sky is also reflected in the pool, so it had to sit well with its surrounding sky and land colours to look authentic. I took some Ultramarine Blue and tinted it down with Titanium White No.1. I wanted to add violet tones so I mixed in a little Alizarin Crimson. The blue of the sky also leaned towards the greens so I added a little Bright Yellow Lake to subtly shift it in that direction. 2 Peachy tones As the sun gets lower in the sky, the rays of light have more atmosphere to travel through to reach your eyes. This…

THERE ARE MANY THINGS that contribute to the attractive and free nature of watercolour, but here I’ll concentrate on the simplest and most basic: how I apply the paint to the paper. I’ve found the easiest way to make the paint look happy on the paper is to touch the paper once. That is, I know how I want my picture to look straightaway, and don’t plan to do any over-painting. I avoid painting anywhere twice, until I have painted everything once. And I don’t correct as I go along either– I wait until the end, when it is easier to judge the passages that haven’t quite gone to plan. Remember, we are all trying to narrow the gap between our vision and the execution of our vision. Follow these steps……

Materials ◻ Painted on Ampersand ‘Artist Panel’ primed canvas texture, 45.7 x 61cm wide. The Ampersand board was selected for its archival quality alongside its ability to retain purer colour with less shrinkage of the paint as it dries.◻ Acrylic initial background wash and first tree positions with Atelier Interactive Acrylics.◻ Main painting with Daniel Smith fine oil paints, as well as a couple of Old Holland and Micheal Harding oils. Daniel Smith oils have a superb buttery consistency and retention of glow through the painting process and after.◻ Rosemary & Co Ivory range long flat brushes. I am very lucky; from attending art college at a very young age, most of my life has been in the art world – both as a commercial artist for international freedom of living…

Materials Slow-drying acrylics offer an extended drying time, so you can use them in ways not previously possible to the acrylic artist. This allows the freedom to create using many techniques that are normally only available with oil paints yet without the health risks of solvents such as turpentine. ◻ Atelier Interactive Acrylic Paints◻ Stretched and pre-primed cotton canvas, 24x12 inches◻ Rosemary & Co Ivory acrylic brushes◻ Daler-Rowney Stay-Wet palette◻ Atomiser spray◻ Clean water◻ Old rags When I’m painting en plein air (outdoors), people stop to look, pass opinion and chat. I frequently get asked if I have a specialist subject, but I always say “No – I paint anything and everything!” I could stay with a proven successful image that I just paint and sell, but for me, being…

Materials Pastel papers come in a multitude of colours. I used Winsor & Newton’s Universal paper (Blue, Terracotta and Mottled grey) along with a range of Unison pastels: Dark 18, Blue Violet 9, Dark 8, Blue Green 7, Blue Green 16, Grey 34, Add 35, Add 33, Add 31, Brown Earth 4, Brown Earth 13, Grey 27, Add 7. I also used two Conté crayons: 2340/43 and 2340/18. Do you ever hesitate when choosing which colour surface to use? There isn’t a right or wrong choice, it just depends on the mood you wish to create. Do you want your piece to be calm and peaceful, bright and fresh, or dramatic and moody? The colour that we work on becomes part of our palette, showing through the pastel work and…

1 Divide image evenly Dividing an image evenly tends to result in static compositions. There is no variety, nothing attracts the eye in any particular direction. We look at the focus of the image, then move on. 2 The conventional rule of thirds Focuses lie at either a division of ⅓, or at an intersection between a horizontal and vertical ⅓ divider. This is an effective way to avoid placing subjects in the centre of a composition. 3 Push the rule of thirds The focus has been nudged slightly off the third divisions, but is not on an even divide. This generates a little more unpredictability, as we can create unusual shapes.…

WHEN STUDYING A PHOTO, I observe the patterns of waves, and how they fall and move. My aim is to capture the movement of the sea rather than creating a totally realistic copy. I like to work in a free and relaxed way, using my sharp-edged palette knife. It’s important you don’t overload the knife or brush – keeping your paint fluid will prevent a sticky mess. Follow these steps… 1 I begin by drawing my horizon with a pencil onto a 20x20cm canvas. Then I mix a colour for the sea and sky. If you want a bright sea, use a mix of lighter blues; for a more moody feel add more grey. Leave the finished background colour to dry. 2 I merge both sides of the horizon line with…

I LOVE TO USE MY PASTELS, Conté crayons and charcoal in as many different ways as I can. By varying my grip of the pastel and the pressure I apply on the paper, I can make all sorts of marks that have different energy. With the same pastel I can draw delicately or paint boldly. It’s quick and exciting! Here I am using charcoal and Unison pastels on their edges, twisting them around the surface to create the feeling of the craggy hills of Dartmoor, a dramatic and inspiring place. For the rocky tors and tumbled rocks, I lay the edge of a 3cm piece of charcoal on the surface, holding it in the middle. By pressing hard and dragging it along that long edge, I create the dark shadows…

PAINTING WATER CAN sometimes seem overwhelming. Water moves constantly, so capturing a moment without the aid of a camera may appear impossible. But paintings can convey the constant movement of water in a way that photos struggle to, as long as you have a good water-painting technique that ensures your pictures are as full of life as the real thing. The following top ten tips explain a few basic skills and techniques you can use to paint water that looks spontaneous and vibrant. Although I use watercolours, these tips also translate to the medium of your choice. Practise en plein air whenever you can, but you can work from photos when you need to. You can’t paint the same water twice, since it’s ever-changing. Capturing the energy in that movement is…

Materials ◻ Paints: Quinacridone gold - Winsor & Newton Professional WatercolourPermanent magenta - Winsor & Newton Professional WatercolourWinsor blue (green shade)-Winsor & Newton Professional WatercolourBurnt sienna - Winsor & Newton Professional WatercolourVermilion - Mijello Artists’ Watercolour ◻ Brushes: Pro Arte Series 50 extra large, squirrel hair wash brushDa Vinci Series 5530 Cosmotop-Mix, size 12 round brushSAA Kolinsky Sable brush, Rigger size 4Pro Arte Series 40, Pure Sable round brush, size 2 ◻ Paper: Bockingford Watercolour block, NOT, 16 in x 12 in ◻ Other materials: Rock saltPlastic palette knifeSpray bottle ◻ Ibolya finds the medium rough paper perfect for creating textures as well as for applying washes with a large brush. She uses mostly transparent colours to achieve vibrancy. In this workshop I encourage you to be more daring with…

If you’ve ever been on a boat or ship at sea, you might recall the smell of the sea air, the salty spray on your lips and the physical effort required to compensate for the rolling and pitching motion. For this workshop, I decided to recreate these sensations in the studio using a combination of sketches and photo references, but mostly drawing upon my own vivid memories of what it feels like to be at sea. For me, capturing feeling and energy is more important than ‘photographic’ visual accuracy. I’m interested in recreating the emotions that the original experience unleashed. I never sit down to paint, this enables me to use my whole upper body to inject more energy. I also step back frequently to get a more objective view.…

Materials ◻ Gouache Paint: Permanent white, Lemon Yellow, Permanent Yellow Deep, Yellow Ochre, Winsor Red, Quinacridone Magenta, Ultramarine, Phthalo Blue, Burnt Siena, Ivory Black◻ Plastic palette – I am using a children’s finger painting palette as it has a lot of space◻ Kitchen Towel◻ Water soluble pencils – any graphite, colour or watersoluble can work with different effects◻ Seawhites A4 Watercolour Paper– any watercolour or a heavyweight mixed media paper will work well◻ A mixture of flat and round synthetic brushes, ranging from a 1” flat to a #1 round◻ Pipette◻ Spray bottle◻ Jar for water◻ Masking Tape Gouache is a water-based medium, also known as opaque watercolour. It works in a similar way to watercolours, in that it is watersoluble, and can be used from a dry cake, or…

Materials I’m painting on primed 6mm MDF board, and will use a combination of brushes, flats, rounds, and riggers and palette knives. I like the effect of scraping paint on and off, using a dry brush technique for added texture and interest. I also use Stanley knife blades to scrape the paint off, and draw into the surface of the paint for added fine detail. I’m working with Liquin Original, Golden Acrylics and Michael Harding oil. For this workshop I’m painting one of my favourite cities, Venice. Its vast architectural structures and eerily quiet atmospheric canals and narrow streets have always fascinated me as a painter of cities and townscapes. I’ve chosen to take one of my favoured perspectives: an aerial view that enables me to incorporate some interesting foreground…