Remember, shadows are made up of blues and all manner of reflected colours, not just blacks and greys.Ħ LET COLOURS BLEED into each other in a controlled way and be patient. Paint the dark shadows on the trees, let them dry and add body colour later – this helps you get on with your painting while other areas may still be wet. Avoid the urge to finish an area.ĥ WITH THE BASIC COLOURS down, try dropping in other colours such as Viridian, Indigo or Perylene Maroon to create darker areas and interest in the borders. Start adding in some of the darker areas and remember to keep the brushwork quite loose. Choosing a slightly bigger brush than feels comfortable stops you overworking and being too precious with the detail. A gentle touch and more dilute paint will help you achieve this.Ĥ USING A SIZE 10 BRUSH, start adding the bushes, trees and other foliage. Look for the unexpected colours – a landscape needn’t just be blue and green! Think of field formations like a patchwork: paint them bit by bit, and keep things lighter in the distance. When that is dry, apply some bolder washes of colour to create depth. Look at the cloud formations and don’t be afraid to leave the paper blank to depict the clouds.ģ ONCE THE FIRST WASH is dry, apply more masking fluid, this time reserving some of the grass shapes in the foreground. Begin with lighter washes of colours including French Ultramarine, Green Gold and Yellow Ochre. Masking fluid can destroy your brushes so use a colour shaper – a sort of rubber brush – instead.Ģ USE A SIZE 20 wash brush to block in some of the larger washes. Look for any lighter areas in the subject that may need to be reserved on the paper. PAPER Daler-Rowney “The Langton” 300gsm cold-pressed (NOT) watercolour paper, 51x41cmġ A GENERAL LANDSCAPE can be enhanced by the lightness of touch that comes with minimal sketching and more planning during the paint stage.
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