Painting landscape with trees
Tissa Hewavitarane
The difference between a photograph and a painting is that, a
painting expresses more than just the surface appearance of things with
each stroke of the brush, the artist expresses his or her own
personality and feelings about the subject.
This applies particularly in a water colour painting, in which every
brush mark remains visible and therefore becomes an integral part of the
finished image. Beginners, though, have a tendency to be rigid and
flexible in their rush work because they lack the confidence to be able
to let go and adapt to the spontaneous qualities of water colour.
Don’t be a slave to your subject break loose from it and let your
enjoyment of it come through in your painting. Remember you don’t have
to paint a masterpiece every time sometimes it’s good simply to
experiment and discover new ways of manipulating the brush and the
paint.
Trees can have many shapes, but they are easily represented with a
simple combination of shadowing. A water colour must always be painted
from light to dark. After outlining the area where the trees must go, a
light green wash is applied, and then the contrasts are put in.
Expressive brush work
Various effects can be achieved with a dry brush. A dry brush stroke
on a dry background brings out the grain of the paper and can create an
interplay with previously applied coats of paint. A dry brush can be
used to paint over a white surface or one previously tinted with a wash.
The technique of using a dry brush is one of the most interesting
ones that can be performed with water colour. Naturally it isn’t
something to be used at all times, since some areas of a painting will
inevitably demand techniques involving blending colours or creating
gradations.
Landscape
Take the landscape painting I have titled ‘Shady trees’. The exercise
that follows is a landscape with a group of trees in the fore ground.
The greens in this landscape are fresh and vibrant because the artist
has built up his colours and tones with lively strokes of dark green,
blue and yellow.
This painting is sufficiently rich in shades and textures to allow it
to perfectly demonstrate the technique of using the dry brush.
The tree trunks are precisely sketched and its most twisted branches
are clearly shown. Instead of trying to paint individual leaves I have
used small flecks and dabs of paint which indicate clusters of foliage
without appearing stilted.
Trees are three dimensional not flat, as they are so often portrayed.
Notice the trees and foliage are massed into groups of light and dark
tone so that each one registers strongly against the other. Warm and
cool greens built up with transparent glazes give the effect of
sunshining through leaves. Finally, when all the paint is dry, the tall
grass in the foreground (on the right) is added.
Soft flowing brush strokes are made at an inclined angle to race the
stalks. The brush should not be too loaded with paint to allow broken
brush strokes.
Gives life to a picture
The eye is always drawn to human figures in a landscape, and their
inclusion can turn an ordinary subject into a striking picture. Here the
tiny human figure on the left (a woman with a heavy load on her head)
form the anchoring point for the whole composition, gives full of life
to the picture. Harmonious colour and tones give clarity and strength to
the image.
Shadows
Shadows are marvellous device for conveying an impression of bright
sunshine. Here the pattern on shadows cast by the trees activates the
composition and creates a buoyant, spring - like feel.
The area corresponding to the road, is minimally but clearly
outlined. Care is taken to draw the cure that differentiates the road
from the earth and its vegetation.
A light purple mixture is used to show the shadows fallen on the
road. Shadows can be used to help build up or strengthen a composition.
Middle and dark values against light values
This pattern of values is well suited for landscape painting. The
sky, the source of light, is very light in value. All horizontal planes,
since they are perpendicular to the source of light, are also very light
in value.
All planes that are parallel to the light source do not receive the
full intensity of the light source and are middle values and dark
values. So, a typical landscape scene is middle values and dark values
against light values. This is a generalization and should be taken as
such.
Sky and clouds
When painting the sky it should be planned before hand what sort of
weather conditions you are going to have, whether it’s windy, sunny day
with lot of fleecy white clouds, or an approaching storm, or a rainy day
or even clear blue sky.
My painting shows how the clouds too, obey the laws of perspective
appearing to get smaller as they reach the horizon. Even a clear blue
sky should graduate in tone with the colour at the horizon being weaker.
Note how the sky softly graduates from blue at the zenith to a pale
and white clouds to the horizon.
Combining techniques
The special techniques do not have to be used constantly in water
colours. In general, it is better to use these effects as very defining
notes in any work. All the techniques of water colour must be combined
intelligently so that the painting is not cluttered up with special
effects.
Finally when composing a sunny scene, remember that either the bright
warm areas should dominate or the cool, dark shadow areas.
If there is an even spread of lights and darks, the effect of bright
sunshine will be lost. The painting related to this article demonstrates
how successful, when painting a bathed in bright sunshine is much
exciting and vibrant.
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