How to Paint Trees and Foliage - Part 2 - Blocking-In the Painting by samuel-earp-art

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How to Paint Trees and Foliage - Part 2 - Blocking-In the Painting

<html>
<p>Hello Steemers</p>
<p>Welcome to Part 2 of How to Paint Trees and Foliage. In this blog post I will show you the first part of starting a painting which is a process known as 'blocking-in', this is where you establish the basic forms, colours and tones in the painting which will ultimately serve as a base to work from in order to build up the detail.</p>
<p>Check out the link to <a href="https://steemit.com/art/@samuel-earp-art/how-to-paint-trees-and-foliage-part-1-composition-and-painting-design">Part 1 of How to Paint Trees and Foliage</a>.</p>
<p>https://steemitimages.com/DQmRZPSiUY21ycSzDbdXSUViHSfAi36jKZobrkYUP5EBLAp/Poplar%20Trees%20and%20the%20Remarkables%20Mountains%20-%20oil%20painting%20-%20landscape%20-%20Samuel%20Earp%20-%20New%20Zealand%20landscape%20artist.jpg</p>
<h2><strong>Blocking-In</strong></h2>
<p>I'm painting on a 40cm x 50cm canvas. I have applied a thin layer of burnt sienna to the canvas and allowed it to dry, this helps to warm up the painting as it comes through the paint layers and gives it a more traditional look. It also helps with establishing colour and tone as there is less of a distorting effect which can occur from painting on a white surface.</p>
<p>I sketch out the composition with burnt umber mixed with liquin which is a medium that not only thins the paint and improves the flow but also speeds up the drying time.</p>
<p>https://steemitimages.com/DQmX1eQRs5MFBByEhhD2bPqc3XRMRLMHJ6itLD114zzjcRM/IMG_5640.jpg</p>
<p>Once I have sketched out the composition I determine where my darkest tones are in the painting, in this case it's the shadows in the poplar and sycamore trees in the foreground. Once I have figured out what my darkest values are I can use it to gauge the rest of my tones in the painting.</p>
<p>I'm using a No.6 flat brush as I start blocking in, I want to keep my brush strokes loose and gestural so I will be pretty much using No.6 flat brushes throughout the entire blocking in phase.</p>
<p>I mix the shadows of the trees using burnt umber, burnt sienna, ultramarine blue and a very small amount of phthalo green. I use this same colour combination with the willow trees in the mid ground but adding a little titanium white to the mix.</p>
<p>I then start marking in the shadows in the mountains using a combination of burnt umber, ultramarine blue, quinacridone magenta and titanium white.</p>
<p>https://steemitimages.com/DQmeM1UuRcb3L8JTGeniZoTzbjPP2pu3nHAVwftQPYTUfKo/IMG_5641.jpg</p>
<p>Having established my darks I move onto the sky. I mix the cloud highlights with titanium white and burnt umber knowing full well that it will mix in nicely with the cloud shadows I'm about to add. I mix the colours of the cloud shadows with the exact same colours as I used for the mountain shadows, burnt umber, ultramarine blue, quinacridone magenta and titanium white. Using this same colour combination for shadows throughout the painting will create more colour harmony. Even the shadows in the foreground trees contain burnt umber and ultramarine blue.</p>
<p>I mix the blue in the sky with ultramarine blue, cobalt blue, cobalt teal a very tiny amount of quinacridone magenta and titanium white. I vary the amounts of the blues in order to add texture and interest to the sky.</p>
<p>I block-in the areas in light on the mountain, the colour results from lots of jagged rocks and tussock grass that grows on the mountain and I mix this again with the same colour combination I used in the sky with the emphasis on more burnt umber, I also add I small amount of yellow oxide into the mix. You can also use yellow ochre as well.</p>
<p>I paint the snow in the mountain with titanium white and burnt umber. The burnt umber helps the snow to recede in the painting.</p>
<p>https://steemitimages.com/DQmWk5dNABxVQbsb3nVcMHMjhJ1N3qzCNzT7xxTkShn2x7a/IMG_5642.jpg</p>
<p>Next I work on the greens in the grass and I'm sure you are wondering, how do you get green to recede in a painting, well the answer lies in desaturating colours. The more desaturated the colour the more it will recede in the painting.</p>
<p>I mix the colours of the distant fields with yellow oxide, ultramarine blue and titanium white as a base, then I add varying amounts cobalt teal, quinacridone magenta and burnt sienna to vary the texture. If the green is too saturated I can reduce the chroma by adding a colour containing its opposite on the colour wheel, red, which could include burnt sienna or quinacridone magenta.</p>
<p>I mix the grass in the foreground by starting with cadmium yellow deep, ultramarine blue and titanium white. I then add a little burnt sienna, yellow oxide and I kick up the saturation with phthalo green. Be careful when using phthalo green as it's a very strong colour and can quickly overpower your mixture. I add a little cobalt teal in places to vary the texture and colour of the grass.</p>
<p>https://steemitimages.com/DQmb7sokQQa7Yn8dJtqcV64m3LtcTu4UNJEvFTjiWwit3bS/IMG_5643.jpg</p>
<p>Now to paint the main focal area of the painting and again using a No.6 flat brush I start blocking-in the foliage of the trees. Again, I am keeping my brush strokes loose and gestural.&nbsp;</p>
<p>The tone of the foliage is darker than the grass so I must keep this in mind, but I am basically using the same colour combination for the foliage as I used in the grass, however I will vary the amounts of the colours in the mix. I darken the foliage from the get go by add more ultramarine blue. The foliage contains more earthy siennas in the green so I increase then amount of burnt sienna into the mix. You might need to play around with these colours a little until you get the right one.</p>
<p>I mix the colour of the path with ultramarine blue, burnt umber and titanium white.</p>
<p>https://steemitimages.com/DQmZtTEW4kVNSruAJQp7Lf7ZgG4gTNeYwhXyyWPgiA5rqR5/IMG_5646.jpg</p>
<p>I'm getting near to completion of the block in stage and I add some mud to the grass by mixing burnt umber, ultramarine blue and a small amount of quinacridone magenta with titanium white. I also add the clumps of dead yellow grass.</p>
<p>I paint the shadows in the dirt track by mixing the same colours I used in the mountain and clouds shadows, burnt umber, ultramarine blue, quinacridone magenta and titanium white. This is a useful colour combination and a good default colour mix to use in a painting.</p>
<p>https://steemitimages.com/DQmbeWULuyeBng9UjycGXNW87vLDNwqge2CzQRqugztbDsG/IMG_5647.jpg</p>
<p>I complete the blocking-in phase by tidying up the clouds in the sky and just refining the overall forms in the painting. Once the blocking-in stage is complete I allow the painting to dry so then I can start building up the detail.</p>
<p>https://steemitimages.com/DQmVjnXBG74KrTjS13dQ5ijE4AtUCeD9ibTC4HHQzXgXvJd/IMG_5648.jpg</p>
<p>I hope you enjoyed the second part of this step by step painting tutorial, stay tuned for Part 3 where I will show you how I build up the detail, refine the painting and then add the final details.</p>
<p>Check out my website for more painting demos and my art: <a href="https://samuelearp.com/">samuelearp.com</a></p>
<p>Subscribe to my mailing list for news, new paintings and art tips and receive a FREE digital art print download of one of my seascape paintings suitable for printing an image of any size: <a href="https://www.samuelearp.com/subscribe/">https://www.samuelearp.com/subscribe/</a></p>
<p>Click on the link to read Part 1</p>
<p><a href="https://steemit.com/art/@samuel-earp-art/how-to-paint-trees-and-foliage-part-1-composition-and-painting-design">https://steemit.com/art/@samuel-earp-art/how-to-paint-trees-and-foliage-part-1-composition-and-painting-design</a></p>
<h2><strong>Stay tuned, Part 3 coming soon.....</strong></h2>
</html>

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@florian.art · Mar 24 '18

well done @samuel-earp-art  thanks!

👍 florian.art

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@samuel-earp-art · Mar 27 '18 (edited)

Thanks @florian.art :)

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@marceladiomede · Mar 24 '18

Excelent! Thanks for your explanation!

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@samuel-earp-art · Mar 27 '18

Thanks @marceladiomede :)

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@mayasky · Mar 24 '18

Super post and great block in 😊

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@samuel-earp-art · Mar 27 '18

Thanks @mayasky :)

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@morken · Mar 25 '18

You have a very good art sir samuel. This is not just a skill, not a talent but also a gift. I appreciate artists like you who are willing to share the gifts that they have. Thank you for sharing this one sir!

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@samuel-earp-art · Mar 27 '18

Thanks @morken :)

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@normazaro · Mar 24 '18

You paint well, you know a lot. I would like to know what shades of green you use. Thank you very much!!

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@samuel-earp-art · Mar 27 '18

Thanks @normazaro, I love your art work too. I mix my greens using combinations of cadmium yellow deep, ultramarine blue, phthalo green and titanium white. I will then add colours like burnt sienna and quinacridone magenta to make them look more organic. Phthalo green is the only ready made green I use and I use it in small amounts to increase the saturation of the colour.

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@sujonmia · Mar 24 '18

Very nice art..
Thanks for sharing..
I appreciate your blog..

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@samuel-earp-art · Mar 27 '18

Thanks @sujonmia :)

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@zpzn · Mar 24 '18

Wow .. I enjoy your post .. details are perfect.. thank you 👌🙏👍

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@samuel-earp-art · Mar 27 '18

Thanks @zpzn :)

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@zpzn · Mar 27 '18

Yw :) 🌸

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