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.

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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.

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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.)

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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.

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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.

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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.

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Watercolor painting is probably the most convenient of all the painting mediums. All you really need to get started is a box of paint, a few brushes, water and some paper. There are no toxic solvents or mediums to be concerned about and your brushes can be cleaned with a little soap and water. This convenience makes watercolor one of the most economical painting mediums as well. This article will provide an introduction to the more popular supplies that a beginner should consider investing in.

PAINT

Watercolor paint is made by mixing powdered pigments along with a water soluble binding medium. In the beginning you will do fine by using a cheaper brand of paint, but you will definitely enjoy a much better painting experience if you use artist quality paints. Artist quality paints use more high quality pigment and are noticeably richer and more vibrant. After you become more comfortable working with watercolors, you should then consider upgrading to artist quality paint. Paint is available in both pan and tube form. The main difference between the tube and pan paints is that the tubes have more glycerine and they tend to be more water soluble.

BRUSHES

There are generally two types of brushes that are available to artists: your soft hair brushes like natural sable and squirrel hair and your hard hair bristle brushes. Soft hair brushes are the most popular choice amongst artists and highly recommended. Bristle brushes are sometimes used with techniques that require you to scrub the paint into your paper or other support. Among the soft brushes used by artists, sable is the most popular. These soft hair brushes are resilient and effective at holding a lot of paint. Because of the high quality of these brushes, they also come with a high price tag. This of course leads artists to seek a cheaper alternative. This cheaper alternative comes in the form of synthetic soft hair brushes. As the name implies, these brushes are not made with animal hairs. They are made from man made materials and consequently, are not of the same quality as the sables. They are still a pretty good alternative and many artists use them.

BRUSH SHAPES

Now that you are a little more familiar with the types of hair brushes are made with, lets us cover the shapes brushes are available in.

Round Brushes

As the name implies, the hair of these brushes are round and can be shaped into an excellent point. Depending on the size of the round brushes, they can be used for detailed work or for applying washes.

Wash Brushes (or Mop Brushes)

This is a brush that forms a mop like shape and is used primarily for applying washes.

Flat Wash Brush

The flat wash brushes are square and flat in shape and closely resemble the brushes you use for house painting. These brushes are made for applying washes over large areas and can also be used for modifying existing washes.

Large Flat Wash Brushes

The large flat wash brush looks very similar to the regular flat wash brush only its a little larger, usually about 2 inches wide. This brush is also excellent for laying down washes over large areas.

PAPER

Watercolor paper comes in a variety of different sizes, weights and textures in order to accommodate the various preferences artist have. Whatever paper you decide to use, it needs to be very strong and have a certain degree of absorbency to prevent breaking and tearing.

Absorbency

Watercolor paper is made to have certain degree of absorbency depending on the amount of sizing used in the manufacturing process. The more sizing used, the less absorbent your paper will be. If you are not happy with the level of absorbency in your paper, you can always purchase your own sizing and apply it yourself.

Acidity

You should look for papers that are acid free with a neutral PH. This will lessen the darkening of your paper as it ages.

Weight and Surface

Watercolor paper is available in three different surfaces: Hot pressed, cold pressed and rough. Hot pressed paper has a smooth surface, cold pressed paper has a semi-rough surface and rough paper has, you guessed it, a rough surface. The weight of the paper refers to the weight of a ream (480 sheets) of paper.

Learning how to become a good oil painter is a difficult undertaking. In fact, it is more than likely one of the most difficult painting mediums to master. Things like color mixing & theory, perspective, techniques and materials can really intimidate a beginner artist.

So how do you get the most out of your oil painting and become a more accomplished artist?

You must make it a point to learn the fundamentals of oil painting, practice often and have an enormous amount of patience.

You must start with the fundamentals of oil painting first. You cannot expect to produce Rembrandt quality paintings in the beginning. In fact, the first paintings you produce will probably be a lot worse than you may have anticipated. Frustration will more than likely come into the picture (pun intended). They key is to learn from your mistakes and do not let them defeat you.

So what are some of the fundamentals of Oil Painting? What information should you study and learn first?

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