Oil Landscapes Step by Step WENDON BLAKE‘opsripit Copyright © 2001 by Donald Hiden AM right eesered unt Pit AMUPICAR abe! Intemational Copyright Coosestions SM bisch-and-vhite reproductions of dewwings. pain {opreps from the original editir. igs, and poe Latwary of Congress Cataging-in- Publication Daa ‘Bilas, Wencdon, Os painting book: 2. Landscapes in oa} (Oi ancapessep by step! Wendon Blake t= “Aw abridged slightly corrected republication of the work originally pb woman iby Winey Pobioain amacrine a Lames tS. pars d'ef The od plating bot tthe ures The eres peg en ree ISBN O-No-aTS27-94p6k) |, Lacdacape painting —Tecbnagise: 1, Tithe tse ce 00) Huanoeac consis Manufactured in the United Sates America (Dover Publications, Ine, ‘H East 2nd Street, Mineola S. 11501CONTENTS Intreduction 4 Colors and Mediums $ Equipment 6 Bristle Brushwork 8 Softhair and Bristle Brushwork 9 ‘Giff Painted with Bristles 10 ‘Trecs Painted ‘with Bristies and Softhairs 12 Mountains in tmpasto Technique 14 ‘Snow Painted Thin to Thick 15 ing i Tice Colors 17 ‘Sky and Land Colors 18 ‘Colors of Water 19 Demonstration 1. Deciduous Trees 20 Demonstration 2. Evergreens 24 ‘Demonstration 1 Meudow 25 Demonstration 4. Mountains 32 Demonstration $. Clouds 36 Demonstratic ). Sunset 40 Demonstration 7. Pond 44 Sclocting Landscape Subjects 49 ‘Composing Landscapes 50 Lighting in Landscapes £2 Linear Perspective $4 Aerial Perspective 53 Brushstrokes Create Texture $6 Modeling with Brushstrokes $7 ‘Testural Technique $8 Modeling Techmquc 60 Expressive Brushwork 62 ‘Tree Forms 64Landscapes in OIL Whether you palat outdoors or indowrs—or both—painting landscapes in oil is & great delight, Oil paint is amazingly versatile. If you enjoy working on location. you ean pack all your tubes and ‘brushes. your palette, plus a few cunvas boards into a ‘compact paintbax that’s no bigger than a small valise ‘This box becomes a kind of traveling studio. the lid—which stands up to function as your easel— and you're ready to paint anywhere. If you're a quick and Impulsive painter, you can work with deckive strokes. and finish a Landscape in a few hours, right on you prefer to work more slowly and delib- jou can start a painting on the spot and finish the picture at home; because oil paint takes. several days ta dry, the calors oa the canvas remain soft and pliable, civing you plenty of time two complete the landscape st sour leisure. Or if you'd rather start and finish 4 painting im the comfort of home, you can al- ways make some quick oil +ketches on location and then take these indoors touse as reference material for a larger, more ambitious painting. Oil pict will al- ways adap itself 10 your personality and your working habits, Indoors or Outdoors. Although some people are ‘outdoor painters and others are indoor painters, it's important to remember that the best Landscape pain. ings always sturt outdoors, even if they're finished in the studio. The only way to learn bow to paint a tree or Stock is to set up your paintbox right these in the meadow, There's no substitute for firsthand know!- edge of your subject, Working on location will strengthen your powers of observation and train your Visual meniory. So it's imponamt 1 spend as much time as you can painting on location, even if those paintings are noltsing more than small, quick studies for larger paintings which you hope to develop in- doors. Those otidoar paintings—no matter how rough and crude they may turn out to be—will have a fresh ness and authenticrty that you can get only by Inoking straight ot the subject. Then, if you Mant to use these outdoor paintings as the basis for more work indoors, your indoor paintings will have a feeling of realiny that you.can never get by: painting from memory —or from 4 photograph. Basic Techniques. Gi! Landscapes Step by Step Ibegins with a rapid review of basic techniques. First, you'll see how to use bristle brushes for a roughly tex fred subject such as the rugged forms of a cliff and rocks, Then you'll sce how to combine stiff bristle brushes with more pliable sofithair brushes to paint « subject—such as trees amd grass—that combines rough brushwork with softer strokes. The Italian word impasto means thick paint and you'll soe how the im paso technique is wsed to paint » mountainous land- scape. When you paint in oils, it's usally a good idea Wo stant out with thin color and gradually work your way toward thicker color: you'll see how this is dome ln a snowy landscape. Color Sketches. Several pages of color sketches will give you some guidelines for painting the variows colors of trees, skies, land, and water, You'll compare the wery different greens of deciduous trees and ever- ‘pteens, the hot colors off autumn and the more delicate colors of trees.on an overcast day. You'll see how the color of the sky changes from a sunsy day 10 a gray day. You may be surprised to discover how many dif- ferent greens you can find im a landscape of meadows and hills, of bow many different tones you can sec ima sandy shore. And you'll see how the colors of water change as they reflect the surrounding Landscape and the sky. Painting Demonstrations. After looking at some close-ups of sections of various landscapes—which will show you various ways of handling color—you'll watch noted painter George Cherepov demonstrate, step by step, how to paint seven of the most popular landscape subjects. He begins with trees and other growing things: deciduous trees, a forest of evergreens, and a meadow with trees and wildflowers. Then he ‘goes of {0 the big shapes of the landscape: mountains. He shows you how to paint two different kinds of skies: a sunny sky filled with pully clouds, and the dra- matic shapes and calors of a sunset. He conchucies with a pond filled with the reflections of trees Each step of these demonstrations is shown in color. ‘Special Problems. Following these painting dem- onstrations, you'll find guidance on selecting land- scape subjects and you'll find some rules of thumb for composing effective landscapes. You'll leam how the direction of the light can radically change the look of trees or mountains—or any other subject, You'll see: how linear and aerial perspective cam enhance the sense of space in your landscape paintings. Demon stration paintings of a gnarled tree and a hilly land~ scape will show how your brushsirokes can create a feeling of texture or three-dimensional form, You'll observe how expressive brushwork can emphasize the unique character of the subject, whether it’s a cloud Formation or a forest. And the book conchades with suggestions about painting the diverse forms of trees, certainly ane of the most common landscape elements throughout the world,‘Color Selection. When you walk inte an art supply store, you'll probably be dazzled by the number of different colors you can buy. There are far more ube colors than any artist can use. In reality, all the paint- {ngs in this book were done with just a dozen colors, about the average number used by most professionals. “The colors listed below are really enough for a of painting. You'll notice that most colors are in pairs: two bites, twa reds, two yellows, two browns. One member of each pair is bright, the other is subdued, giving you the greatest possible range of color mix- ares. Blues. Ultramarine blue is a dark, subdued hue with a faint hint of violet. Phthalocyanine blue is much mare brilliant and has surprising tinting strength—which means that just a lite goes a long way when you mix itwith another color. So. add -yanine blue very gradually. These two blues will do almost every job. But George Cherepor likes 1 keep a tube of cobalt blue handy for painting skies and flesh tomes; this isa beautiful, very delicate blue, which you ean consider an “optional” color. Reds, Cadmium red light is a ficry red with a hint of orange. All cadmium colors have tremendous tinting. sirength. so remember to add them to mixtares just a bit at a time. Alizarin crimson is a darker red and has a ightly violes cast. Yellows. Cadmium yellow light is a dazzling, sunny yellow with wemendous tinting strength, like all the cadmiums, Yellow ochre is a soft, tannish tone. If your art supply store carries two shades of yellow ochre, buy the lighter one. Browns. Burnt umber is a dark, somber brown. Burnt sienna is @ coppery Drown with a suggestion of orange. Green, Although nature is full of greens—and so is your ant supply store—you can mix an extraordinary variety of greens with the colors on your palette. But is convenient 19 have just one green available in a tube. The most useful green isa bright, clear hue called viridian, Black and White, The standard black, used by ak most every oil painter, is ivory black. Buy either zinc white or titaniam vehite: there's very litle difference between them except for their chemical content. Be sure to buy the biggest tube of white sold in the store; you'll use lots of it, Linseed Oli. Although the color in the tubes already contains linseed oil, the manufacturer adds only enough oil to produce a thick paste that you squeeze ou in litte mounds around the edge of your palewe When you start to- paint, you'll probably prefer more fluid calor. So buy a bottle of linseed oil and pour some:into-that Tittle metal cup (or dipper") clipped to the edge of your palettc. You can then dip your brush inte the oil, pick up some paint on the tip of the brush, and blend oil and paint together on your palette 10 pro- duce the consistency yeu want Turpentine. Buy a big bottle of turpentine for two purposes. You'll want to fill that second metal cup, clipped to the edge of your paletie, 60 that you can add 2 few drops of turpentine to the mixture of paint and linseed oil. This will make the paint even rmare fluid. The more turpentine you add, the more liquid the paint will become. Some oil painters like to premix linseed oil and twrpentine, 50-50, ina bottte w make a thinner paining medium, as it's called. They keep the me- dium in oae paketie cup and pure turpentine in the other. For cleaning your brushes as you paint, pour some more turpentine into a jar about the size of your hand ond keep this jar near the palette. Then, when ‘you want to rinse cut the colar an your brash and pick upa fresh color, you simply swirl the brush around in the turpentine and wipe the bristles on a newspaper, Painting Mediums. ‘The simplest painting medium isthe traditional 0-50 blend of linseed oil and tarpea- tine. Many painters are satisfied t thin their paint with that medium for the rest of their lives, On the other hand, art supply stores clo sell other mediums that you ‘might like to ty. Thee of the most popular are damar, conml, and mastic painting mediums. These are usu- ally a blend of a aatural resin—called damar, copal, or mastic, a you might expect—plus some linseed oil and some turpentine. The resin 1s really a kind of var- Nish that adds luminosity to the puint and makes it dry: more quickly. Once you've tried the traditional linseed oil-turpentine combination, you might like to experi- inient with one of the resinous mediums Other Solvents. If you can't get turpentine, you'll find chat mineral spirits (the British call it white spirit) isa good alternative. You can use it te thin your colors and also to rinse your brushes 2s you work. Some painters use kerosene (called paraffin in Britain) for cleaning their brushes, but it's flammable and has a foul odor. Avoid it.EQUIPMENT Bristie Brushes. The brushe: most commonly ued for painting afe made of stiff, white hog bristles, The flbert ly rounded tip, and makes a sofi siroke. The flat (center) is alse long and spcingy, but i has a sjuatish tip atl makes a moee precise rectangular stroke, The bright (bottom) also has a squarish tip and makes a rectangular stroke, but it’s short aad stiff, sgiing deeper inthe pest and leasing a strongly textures! stroke Softhair Brushes. Alihough briule brushes do most of he work in oi painting, it's helpful to Rave some softhair top two brushes far smoother, mare precise brushsotk, T brushes here are subles: a small, flat brush sineeth, fect makes fluent and adding ows, Atthe: bottom is an oxhair Bruch, ane just abowe it i¢ a soft, white nylon brush both muke broad. smooth, squirt strokes Knives, A palette knife (iop) is useful for mixing color on the palene, for scraping color off the palette at the end of a painting session, an for scraping cvlor off the canvas when you're dissatisfied with what you vc donc and want to-makc a frech stat. A painting knife (Bottom) has a very this, lex ible blade tha's specially desigsed for spreading color on the canvas. Brush Washer. To clean your brush as you punt rinse it tupeatine oF Mineral spints (called white spit im Brit ain). To create a convenient brush washer. save an empey food tin afier you've removed the top; turn the tin aver so that the hotom faces up; thea punch holes is the bottom ‘with a pointed mecal wo. Drop the tin ito outed jar—ith the perforated bottom of the tn facing up. Fill the jae with solvent. When you rinse soar brush, the discarded Paint sinks through the holes to the bottom of the jar; the solvent above the tin remains fairly cleanEasel. For working indoors, 2 wocxden studio easel is con venient. Your canvas board, stretched canvas, or gesso panel is hkl upright by wooden “grippers” that slide ap and down to fit the size of the painting. They also adjust match your own height, A studio easel xhould be the beaw- fest and stundiest you can afford, 10 that it won't wobble ‘whea you attack the painting with vigorous strokes. Fer woeking outdoors, you can get a lightweight, collapsible, tripod easel: to keep it steady in the wink, some profession: als sharpen the three Ings and drive thm into the ground, Palette, Tse wooden palette that comes inside your Painthoa is the traditional mixing surface that artists have used for centuries. A coavenient alternative is the paper teat-off pabette: sheets of oilproof paper that are bound to- gether like a skeichpad, You mix your colors on the top sheet. which you then tear off and discard at the end of the ng Gay, leaving 2 fresh sheet or the next painting ses- sion. This fakes 2 lot less time than cleaning a wooden pal- ‘ete. Mary artists alsa find it easier to mix colors on the whine surface of the paper palette than on the brown surface ‘of the wouden paletie Palntbox. A paintbon usually contains a wooden palette that you can lift out and hold as you paint. Hemeath the palette, the lamer half of the box contains compartment for tubes. brushes. knives. bodes of ail and turpentine, and ‘other accessories, The lid of the paintbox often has grooves, ino which you can slide two or three canvas boards, The ‘open lid ‘ill stand uprighi—with the help of & supporting metal strip which you see atthe right—and can serve as an ‘eaxel when you paint ouidoers Paleme Cups. Thece two metal cups (or dippers) have eripping devices slong the bottom se-that youean clamp the ‘cups over the edges of your palette, Ce cup is for turpen- line of mineral spirits to thin your paint 2s you work. (Don't ‘usc this cup for riasimg your brush; that's what the: brash washer is for.) The other cup is for your painting medium, ‘This can be pure linseed oil; a 50-50 blend of linseed cil and turpentine that you mix yourself; ora painting meivm that you buy in the art supply store—usually a blend of linseed il, umpentine, and a resin such as damar, copal, or mastic.BRISTLE BRUSHWORK aSOFTHAIR AND BRISTLE BRUSHWORK 9 Trees, Near and Far. Like the rocks on the preceding pape, these trees are begun with broad strokes of a bristle bush. However, the paint és diluted with mediesn to 4 more fluid consistency, so that the brush makes a safter, smoother stroke, which you can see most clearly in the shadow site of the foseground wee. The hoghairs still eave a distinct mark the paing, but the stroke isn’t nearly as rough. Oniop of the big strokes of the bristle brush. the tip of a round. soft. bair brush does the more detailed work. The sofihair beush aler touches of the leaves in sunlight. the linear the branches. the vertical shadow strokes of the sunlit treetrunk, and the seribbly strokes of the grass be- reath the trees. The slender, delicate hairs of the sovthair brush woa't camy ax much thick paint as the bristle brush Softhair brushes woek best with fluid paiet, 50 add plenty of mediaCLIFF PAINTED WITH BRISTLES 10 Step 1. The shapes the cliffs and fecha aoe devant sirlght woke: of a small fiber canying m= paint that’s clued with turpentine oa very fluid comsstency. Un dilated tube cole ix 00 thick for drawing lines, so you've pou to ad turpentine or medium ‘Step 2. A Larger brisile brush picks Up some lightly thicker color di uted with just enough medium 10 make the paint flow smoothly. Then the dark shadow sides of the cliff and rocks are painted with broad strokes. Notice how the texture of the canvas board breaks up the strokes, which begin to suggest the roughness of the rocksCLIFF PAINTED WITH BRISTLES "1 Step 3. Now the sunlit faces of the boulders and the cliff are pained ‘with undiluted tube color. This stiff paint is applied mith the shoet, stiff bristles of a bright, which makes 3 siroke that has 4 particularly rough texture. The paint is ve thick that i doesn't cover the canvas in sence, even strokes. You can see that the strokes are ragged and irregular. Ow the face of the big rock at the cea: ter, the weave of the canwas breaks Up the simke to accramuate the rocky texture. ‘Step 4. For the softer. more fluid strokes of the sky, a large filbert picks up much creamier paint. di luted with medium to x more fluid ‘consistency than the racks. You can still see the brushstrokes, but they're softer and less distinct. For details such as the dark cracks. the poim of a round, softhair brush adds a few dark strokes of very ttuid color containing plenly of medium Finally. a bright adds some thick strokes of undiluted color to strengthen the suslit tops of the rocks.TREES PAINTED WITH BRISTLES AND SOFTHAIRS 12 Step 1. For drawing the complex curves of the foliage and the deli- \ cate shapes. of the trunks and branches of these trees, 2 round, softhair brush will do a more pre- cise job than a bristle brush. The color is thinned with turpentine 10 the consistency of waiereolor. Then the Up of the brush moves smoothly over the surface of the canvas. mak ing crisp. graceful lines ‘Step 2. Tolblock in thedarks of the foliage, a large filbert picks up a fluid mixture of the color and painting medium. The bristle brush serubs in the tones with broad strokes that retain the marks of the stiff boghairs and suppest the tex- ture of the foliage, Notice the mall, rough strokes which really begin ta look Hike leaves ot the top, of the tree.TREES PAINTED WITH BRISTLES AND SOFTHAIRS 13 ‘Step 3. The filbert completes the large shapes of the foliage ith broad strokes of flail color contain ing 4 lot of painting medium, Then the tip of a round. softhair brush addy precise, Hincar strokcs For the sunlit and shadow sides of the truake and branches, The shadow sirokes are precisely drawn with Aid color containing enough medium to make the paint ow smoothly ‘Stop 4. A far, softbair brush picks up fluid color to complete the dis- lant tree with soft, smooth strokes that blend the lights and darks and ‘soften the edges of the leafy mares. Then the tip of « round. softhair brush picks up a slightly thicker mixture of tube color and painting medium todash in the sux lit leaves with small, quick strokes. ‘The same brush paints the sunlit sides of the truaks amd branches ‘with long, slender strokes of this creamy minture. Then, picking up more fluid color, a round beush scribbles the shadowy grass at the bases of the treesMOUNTAINS IN IMPASTO TECHNIQUE 14 Step 1, This picture will be completed with thick color— for which painters use the Italian woed inysto—but the shapes are first drawn with precise strokes of fluid color. ‘The tip of a round softhair brush defines the mountains and. the wees with tube colve thinned with turpentine to the cae sistency of watercolor Step 3. The shadowy patches of snow in the fore proure are painted with a bristle brush that carries color diluted to the ‘sonsistensy of thick cream. The really thick color és saved forthe sunlit pauches af snow, which are pure tube color ‘undiluted with painting medium and applied in solid, beavy strokes. A round softhair brush adds small, dark towches such as the trees, at Step 2. Now the dash shapes of the distant mountains at the hhorisoa are psisted with a creamy mixture of tube color ancl Painting medium, The shadowy patch of snow is painted ‘with slightly thicker color—ube culo ans alittle bess ing medinn. AL this stage. all the work is dame with bristle brushes Stop 4. To adh some strokes of shadow to the suit se bristle tush digs back inio the thick, wet color applied in Step 3. Thon the foreground is complied wih stokes made by 4 round, softhaie brush. The sitategy of this painting is worth remembering. The mast distart shapes are painted ‘sith smooth, fairly thin color, The thick color is saved for the sunlit foregrosindSNOW PAINTED THIN TO THICK Most oil painters make it a standard practice to thin color—dileted wath lots of tarpentine or begin Painting mediem—aex gradually introduce thicker color as the painting progresses. This snowy landscape bens with 3 brush drawing im very thin color diluted with turpentine. ‘The proliminary shapes arc drawn with the tip of # round softhair brush. Step 9. Working with slightly thicker color diluted with medium to the consistency of thick cream, a bristle brush paints the sunlit paiches cn the snaw-covered trees and the foreground. Then a round, xofthair brush pins to ahd dhe darks with strokes of fluid color lil thicker than the ealee used in Step 2, bur not as thick as the sunlit snow, Step 2. Stil working with fluid paint—tube color dilyied with paining medium and a litle tarpentine—a bristle trust adds the shadow tones on the snow-covered trees, plus the dark shape of the trees inthe distance. A pale tone is also brushed across the shy, while a strip of shadow is brushed across the foregrourd, Step 4. Following the same atraicgy that was used for Painting the mountains, the thickest strokes are saved for ‘the wery end. Now the paint is really pied on witha bristle ‘brash to solidify the shapes of the snow on the trees andoe the ground, And 1 round, softhair brush adds creamy strokes to suggest snow on the branches wf the dark treeBuying Brushes. There are three niles for buying banhes. First, buy the hest you can afferd—even if ‘you cian afford only a few. Second, buy big brusties, not litle ones: big brashes encourage you to work in bold strokes, Third, biy brussinss in pairs, rowghty the same size. For example, if you're painting a sky. you can probably use ene big brush for the patches of blue and the gray shadows of the clouds, But you'll want another bruc, unsullied by blue or gray. to paint the white areas af the clouds. Recommended Brushes. Hcpin with a couple of really big bristle brushes, around I" (25 mm) wide for paiming your largest color areas. You might want to try two different shapes: one can be a flat, while the other might be a filbert, And one aight be just a bit smaller than the other. The numbering systents of man- ufacturers vary, bul you'll probably come reasonably close if you buy a auriber 12 and a nuniber 11. Then you'll need two or three bristle brushes about half this size, numbers 7 and 8 in the catalogs of most brush manufacturers. Again, try a flat, a filbert, and perhaps a bright, For painting smoother passages, details, and lines, three softhair beushes aze useful: one that's about 1/2" (13 mmy wide; one that's shout balf this wide; und a pointed, round brush that’s about W/E" or SiG" (3-5 mam) thick at the widest point, Knives, For mixing colors on the palette and for scraping a wet canvas when you want to mike a cor. ection. palette knife Is essential. Mary oil painters prefer to mix colors with the knife, If you'd ike to ‘point with a knife. don't use the palette knife. Instead, buy a painting knife, sith a short, flexible, diamond- shaped blade Painting Surfaces. When you're staring to paint in oil. you can buy inexpensive canvas boards at amy aft supply store. These are canvas coated with white paint and glued to sturdy cardboard in standard sizes that will fit into your paintbox. Later, you can buy suretched canvas—shects of canvas. precoated with white paint and nailed to a rectangular frame made of wooden stretcher bars, You can save money by stretching your own canvas. You buy the stretcher bars and canvas, then assemble then yourself, If yor like to paint on a smooth surface. buy sheets of hard board and cout them with acrylic gesso, a thick, white paint that you buy in cans or jars, then thin with water, Easel. An cael is helpful. but not essential, It's just a wooden framework with wo" grippers” that hold the canvas upright while you paint. The “grippers” sli up and down to fit larger or smaller paintings—and match your height, If you'd rather mot invest in an excel, there's nothing wrong with hammering a few ails partway into the sail and resting your painting on them; ifthe heads of the nails overlap the edges of the painting. they'l hold it securely, Most painthennes have lids with grooves to hokd canvas boards, When you flip the lid upright. the lid becomes your casel. Paintbox. To store your painting equipment and to ‘cumy your gear ouldoors, a wocden paintbox is a great sonvcnicnes. The box has compartments for brushes, Knives, tubes. small botiles of of and turpentine, and other accessories. It usually holds a palette—phus some canvas boards inside the Tid. Palette. A wooden paintbox often comes with a ‘wooden palette. Rub the palette with several coals of linseed oll to make the surface smooth, shiny, and nonabsorbent, When the oil isdry, the palewe won't sek up your the colors and the surface will be easy to clean ‘at the end of the painting day. Even more convenient is a paper palette. This looks like a skete ped, but the pages are nonabsorbent paper. AL Ihe be- ginning of the painting day. you squceze out your ‘colors on the top sheet. When you're finished, you just lear off und discard the top sheet. Paper palettes come in standard sizes thot fit into painiboxes. Odds and Ends. To bold your turpentine and your painting medium—which might be plain linseed oil or ‘ope of the mistures you read about exrlier—buy to etal palette caps (or “dippers"). To sketch the com- position on your canvas before you start to paint, bay afew sticks of natural charcoal—not charcoal pencils or compressed charcoal, Keep a clean mg handy wo dust off the charcoal and make the lines paler before {you start to paint. Soene smooth, absorbent, lint-tree tags are good Tor wiping mistakes off your painting surface. Paper towels or a stack of old newspapers (a lot cheaper than paper tawels) are essential far wiping your beush when you've rinsed it in turpentine. For stretching your own canvas, buy a hammer (preferably with a magnetic head), some nails or carpet tacks about 348" (9-10 mm) long, scissors, amd & ruler. Wark Layout. Before you start w paint. lay out your equipment in a consistent way, se that everything is ays in its plac when you reuch for it, If you're right-handed, place the palette on a tabletop 10 your right, along with 2 jar cf turpentine, your rags and newspapers or paper towels, and a clean jar in which {you store your brushes, hair end up. Establish 3 fixed Jocation for each color on your palente. One good way is to place your conf colors (black, blue, green) along one edgc and the warm colors (ycliow, orange, red. brown) along another edge, Put a big dab of white in fone comer. where it won't be contaminated.TREE COLORS 17 Deckduous Trees. To paint trees im bright sunlight, try ‘mixing phthalocyanine blue or viriian with cadmium yellow 10 get billiant greens, e¢ ultramarine blue with cad- ‘ium yellow for greens which arc slightly morc subdued Dut still sunny, Here, the sunctruek foliage and grass ave ul- tramarine blue, cadmium yellow, and a lite white: the shadow ateas are whramarine blue and yellow ochre. Evergreen. Pines, spruces. and other evergreens tend 19 be deeper shades of green than decilucus trees. To darken a mixture of phthalocyanine blue or uliramarine blee and cad- mium yellow, add burnt umber, burnt sicnna, or ivory Iblack. Phuhalocyanise blue and yellow ockre will give you [pamicular'y deep green, which grows smoky and mysterious When you add some white—perfest for distamt evergreens or evergreens in mist ‘Autumn Trees. The hot colors of aucumn call for brilliant colors such as cadmiun yellow or cadmium red, but it's best ia ubelue them dlightly with more muted colors euch a yellow ochre. bumt umber. and burnt sienna. The yellow tree is cadmium yellow, burnt sieana, and white. The or- ange tone in the background is caximiums yellow, cadaium red, yellow ochre, and white Trees on Overcast Day. On a gray day. even the bright colors of aucumn are subdued. The warm tones of the fore- (proond tree and the jprass are mixtures of virklian, yellow ochre. burt sienaa, and white. The distant trees. melting ‘away into the atmasphere, are mixtures of wltamarine blue, burnt sienna, yellow ochre, and shiteSKY AND LAND COLORS Sunny Sky. The sky is usually darkest at the xenith. grow. ing paler at thc horizon. Doa’t just mix bluc and white. Try sing 4 touch of yellow ochre or alizarin enimsce for ‘warmth, of perhaps virkdian to make the blee cooler and bbrightcr, This sky is mainly cobals blue and white, with Sight hint of yellow ochre and alizarin crimson. The clouds are also this mixture, but with less blue. ‘vereast Day. An overcast sky is full of subtle color. Try ‘mining onc of your blues (ultramarine, phthalocyanine, or eat) your browns (hurt umber or but si enna) and plenty of white to produce a great variety of beau: tifal warm and cool grays. Add a touch af yellow ochre for a more polden tone, This cloudy sky is painted with mix twice of cobalt bluc, bumt sicnna, oshire, and white Meadows and Hilla. This landscape contains u surprising variety of green mixures various combiastions of ultra marine blue of virkdian, cadmium yellow oF yellow ochre. burt sienna, and white for the lighter areas: various blends of phthalocyanine bive, cadmium yellow er yellow ochre, and bum wriber for the darks. For contrast. isa good idea te exaggerate the blueness of the distant hills ‘Sand in Light and Shadow. Look closely ot a sandy beach and you'll soe that itis as yellow or gold as ‘most beginners paint it, The sunlit areas of these dunes are mostly yellow ochre and white, heightened with delicate towches of cadmium yellow and bumt sicana. The shaslows tend 10 rellect the cool tone of the sky—mintures of cobalt Hive, yellow ochre, alizaria crimson, and whiteCOLORS OF WATER Pond in Sunlight. Water has no color of its own. Out- doors, the water acts like a eurwor, reflecting the color of the surrounding sky and landscape. That's why most of this pond is painted with the same colors asthe sky: cobals blac, yellow ochre, alizarin crimson, and while, For the same Feason, the water below the big willow is painted with the Roeky Stream, A turbulent stream is particularly complicated combination of colars. Much of this stream re- fleets the tones of the surrounding rocks. You can see some ‘cooler strokes that reflect the cooler tone af the sky—al- though the blue zenith of the sky is toc far up ta imchacke in the picture. Inthe immediste foreground, the shallow water reveals the darker tone of the bed of the strea 19 Pond in Deep Woods. Summounded by datk woods, a pond reflects very bittle sky color, lastead, the water picks up che colors of the surrounding tees, At the very top, a few patches of sky break through the tees, and these sky colors are reflected in & few streaks and ripples that break the water — ‘Smooth Stream. Caim water is an almost perfect reflect: ing surface. Look carefully at this placid stream, and you'll see reflections of the trunks and foliage along the share, plus a clearly defined patch wf sky color in the lower right area. The lesson is clear: don't try to mix. some imaginary “water color.” Dut paint water a8 a reflecting sweface that mievors its surroundings.EMONSTRATION 1. DECIDUOUS TREES 20 ‘Step 1. The preliminsry brush drawing defines the trees as two big, simple shapes. A found cofthair brush swiftly glides around the edges of the foliage with a mixture of burnt umber, vi- ridian, and lots of turpenting to make the color flow as smoutily as watercolor. The shapes of the Foliage aren't defined 100 precisely. These strokes will soon be covered by thicker color—and that ‘will be the time to render the masses of foliage more ex- actly viridian, burnt sienna, and white, The strokes are sill very loose and casual—the forms will be more precisely painted ia the fin ‘Thea a beisle beush paint the foliage with 2 mix- ture of viridiaa, yellow ochre, tnd the slightest hist of ead- mium red to. add a teueh of warmth. The strokes already beatin to reflect the character ‘of the subjecr: Long, etiythmic rokes for the trunk and inches; short, ragged strokes of thicker color (di. luted with less medium} to the texture of theDEMONSTRATION 1. DECIDUOUS TREES Step3. A bristle brish works: iis way down to cover the for Nagge atea with short, ragged strokes of sand white im the sualit areas ‘Then the shadows among the foliage are painted with virkd- ian and burnt sienna, 1 ture which also appears in the ‘andor at the hase of the tee A solibair brush defines the ‘unk more precisely, using the same mixtere that frst appeared in Step 2, then adds some shadow strokes with phthalocyanine blue and burnt sienna. A bristie brush begins suggest the rocks at the bottom or the picture with this same phthalocyanine blue/burnt sienna mixture, S¥OD 4. The sky i+ ppniniet around the trees with sh strokes that overlap ane an: other. The first strokes are ult loeand white These overlaid with strokes of aliza- rin crimson and white. and strokes of yellow ochre and white. The action offthe brush blends these thace tones—bat there's. mo attcrnpt to fuse the strokes isto one semcoth, 608 tinuous tone. Notice how the serakcs at the op of the shy afe darkest and Bluest, grow: img warreer and pal the horizon. Also how patches of sky break through the foliage of the big wee.DEMONSTRATION 1. DECIDUOUS TREES 22 ‘Step 5. The sky strokes have obscured the brush fines that defined the smaller tre at the left. now this tree is rebuilt with strokes of the same fol age mixture a was used on the big wee. A bristle brash goes over the sky with short suokes. parially blending the colors that were applied in ‘Shep 4, but ill allowing each stroke to shore. Then the sky mixture—with mote Blois used to paint adarker tone along the horizon. This tone ‘will eventually become the distant hills. The grassy meadow is begun with scrubby, casual strokes of vi- ridian, cadmium yellow burnt sienna, and white. Stop 6. The sky is completed with short, diagonal strokes that elf the patches of base canvas. Then the foliage ‘of the big tree is enriched with thick strokes of viridian, ‘cadena yellow. white, and the slightest toch of burnt si- ‘enna—emphasiaing the bril- Hiaet sumlight, This same trees, broad strokes of sky mixture sharpen the top of the sistans hill AUT this work has been done brushes. New a round, hhair brush paints the I and shadows on the trunks land beaniches with the original mixtures used in Step 2 and 3 adding mare white for the strokes of sunlight, This same brush begins to add dark touches 10 suggest leaves.DEMONSTRATION 1. DECIDUOUS TREES 23 Step 7. Irs always important tw paint with broad, free ‘rokes until the very end of the picture—when the last few details are added with smaller, more precise stokes. In this final stage. a bristle brush completes the foliage of the smaller tree with beood! siokes of virkdian and yellow ochre warmed with a speck of burt sienna and lightened with ‘white. This same tone covers the rest of the meadow. Then the tip of s round, softhaie beush goes to work on those Last ‘Stalls that give the painting u sense of completeness. The dar: trunks of the smaller tree are flowing. rhythmic strokes ff phthalocyanine blue and burnt sienna dikaled with paint: ing megiom to uid consistency that's just right for linear brushwork. The same brush adds mare dark strokes ta the trunk and tranches of the bigger tree. Then the Brush is rinsed out in turpentine, quickly dried on a sheet of news- Paper, and dipped ino # mixture of bumt wnber, yellow. and white to strengthen the lighted patches on the bark, The point of the Brush adds a fe more dark towches among the trees to suggest individual leaves—bu wot too many. The round brush sharpens the shapes of the rocks with the shadow mixture that ws used om the trunks. Thea the tip of the brush scribbles vertical and diagonal urckes over the meadow 10 sUgReR presses and weeds—palc strokes of ‘white faintly tinted with cadmium yellow, plus darker strokes of virkdlan, burt sienna, and yellow ochte. The fm ‘shed painting contains just cpough of these details te scem “real,” but not encugh detail to become distracting. The Painting is still dominated by bokd, free, broad brushworkDEMONSTRATION 2. EVERGREENS 24 ‘Step 1. An evergreen forest can be full of distracting de tail, so i's essential w keep your eye on the big, simpis shapes. Here. the preliminary teush drawing docs nothing more than defise the trunks of the most important trees in the foreground. the poi stapes of the forest against the sky, the small tree at the left, the lines of the shore. and a single round wee on the diisam shoreline. A round softhair brush draws these lines with bomt umber, ultra- marine hive, snd turpentine ‘Step 2. Once the composi- ton seems Fight, the same brush reinforces the original Fines with darker strakes of burnt umber and ultramarine blue, but with less turpencine than was used in Step 1. Then the shapes of the big. trunks sare thickened with this mix ture, since they'll become very important design cle~ iments—Forming the “frame” through which you see the sdineans LandscapeDEMONSTRATION 2. EVERGREENS Step 3. To place the fore- ground chee us the viewer this area is covered with a lak tone of cadmnien yellow, Purmi sienna, and wl tramarine blue. Strokes of this mixture are carried up- ward over the small evergreen at the left—with more ultra. marine blue added for the darks, Then the tone of the trees on the distant shore is begun with a soft, smoky mixiure of yellow ac ivory black, and white. All the work is dose with Bristle brushes, and the coler is di- sted with painting medium to 4 smooth, Mund consistency Step 4. The distant forest is covered with broad strokes of creamy color dilutes with enough painting medium. ta make the color Mow smoothly. The brighest trees are cadmium yellow and a touch of ivory black: this mixure is carmied downwant into the water, and a few strokes are added to the fore- ‘Broun to suggest a patch of sual ight. The daric ee: at the conte: is phthalocyanine blue ‘and yellow ochre. The more muted trees are phthall cyanine blue, burt umber, yellow ochre, and white Strokes of the foreground mixture are carried upwand limto the tree trumks on the left: some cadmisim yellow js aekd- fed to suggest sunlight om the barkDEMONSTRATION 2. EVERGREENS 26 Step 5. The sky is covercd ‘with liquid stokes of cobalt blue. alizarin crimson, yellow ochre, and white—defining the edges of the distant trees more sharply. Some of this sky color is brushed into the wet undertone of the distant wes to the right, which grow softer and cooser. The dark trunks in the foreground are more sharply defined by a round brush carrying a dark mixture of phthaloe blue and berni sicama. The brush adds more dacks t0 the small evergreen atthe left and begins to add shadow lines 10 the ground, But something is ‘wTong: Ue colons of the dis- tant trees ane toa strong, They seem to be pushing their way imo the foreground and acc tw he pushed back by 2 radical change im the color scheme. ‘Step 6. The distant trees are seraped lightly with the pal- cette knife. Then soft, warm tones of burnt sienna, uhra- marine blue, yellow ochre, and white are brushed over and nto the wettone to create new, more unified coloc that stays further back in the pis- ture, Behind the wo big trues at the left, some of the original yellow tone still shi ek through, The new color is carried down into the water, and some darker strokes of this mixiure are added to the foreground. The bark and branches of the fore- ground trees are painted wish dark strokes of phihale ‘eyanine blue and burnt si- ‘enna. On the far shore, only ‘one bright yellow tree re mainsDEMONSTRATION 2. EVERGREENS 27 ‘Step 7. The trees on the far shore have been unified by add- ing fresh color, but now they rust be pushed further ieto the distance. Cool, delicate tones of cobalt bve, burnt enna, yellow ochre, aad white are Blended into the wet color in make the distant tees look even more remose and subdued. Behind the tree trunks at the left the yellow fali- age is heightened with » bit more cadmium yellow, burt ‘umber and white; this mixture is repeated oa the shoreline and carried down to the sill water, which reflects the fol age above. ln the foreground. thick strokes of this mixture, swith.ar occasional dash of cadmium red, suggest palches of Dbeight sunlight breaking through the trees. The tops of the ‘nearby tree trunks are sofiened with strokes of the same cool mixture that appears on the distant wees in the upper Might. this makes the tops of the trunks seem ene shadowy and mare remote. The dark edges of the foreground trees are sharpened with slender strokes of phthalocyanine blue and burnt sienaa applied with the tip of a round softhair Brust, which also adds more branches and (wigs at this final stage, ‘The patches of sunlight on the trunks are heightened with & few stokes of the cadmium yellow, burnt umber, and white mixture that appears on the ground. A. small bristhe brush adds a pale, warm clood to the sky—mostly white, wich a touch of cobalt bive and alizaria crimsos—and then picks up the blue sky mixture to poke some “sky holes” through the foliage. The round softhair brush adds a few dark and light flecks 10 the ground, suggesting the usual debris of & fovest—perhaps some fallen pine cones. The finished pat ing is an excellent example of the adaptability of oil paint, which remains wet and pliable koaper than any other me- dium—permitting you to make major color changes by blending fresh calor into the wet surfaceDEMONSTRATION 3. MEADOW 28 ‘Step 1. As usual. the pre- liminary brush drawing is ex. cuted with a round softhair brush carrying a very fl mixture of tube coler diluted With lots of turpentine. Be- cause the colors wf this land- | scape willl be generally soot, the brush drawing is done in sltramarise blue. The draw- ing is very sim orizon ini, the stream, the shapes of the foli- age, and afew strokes for the trunks of the trees. The shy is brushed in with broad, rough strokes of cobalt blue, aliza- tin crimson, yellow oe! and wwhite—with more blue at the op and more yell below, This sky tone is Riected in the stream. ‘Step 2. The wees atthe hori- on ate so far away that they contasn practically wo detail, so they're pained as a broad mass of flat color. They're Painted with the same mists as the sky, but with mote ble and less white. The colars aren't mixed too thoroughly: here and there you can see some yellow or pink shit through the bloe. This makes the tone of the trees more lively and interesting.‘Step 3. The sky andthe most distant portion of the land- scape are covered with color. Now it's time to berin work on the middleground. The meadow beyond the siream is. begun ‘ich various mixtonce of cobalt bive, yellow ochre, cadmium yellow, and white ‘The bright patch to the Jeft of center contains more cad- im yellow. Even at this carly stape, the brushstrokes express the form. The tall trees in the distance are pained with vertical strokes, while the flat meadaw is painted mainly with horizon tal strobes, Step 4. The meadow at ne far edge of the stream ix painted with a brighter mix- tare of viridian, cadmium yellow, burst sienna, and ‘white. Now the strokes be- some vertical :o suggest the tall grasses and weeds. The: folinge of the dark tree is painted with rough strokes of viridian, burnt sienna, and yellow ochre—repeated inthe eflection of the tree in the stream. The trunk and branches are painted with a dark mixture of viridian and burnt sienna. The cooler, sofier color of the distant tres is also added to the cen- terof the stream. Some trunks. are sided to the distart trees ‘with a paler version of the same color used to paint the trunk and branches of the tree in the middie ground,DEMONSTRATION 3. MEADOW 30 ‘Step 8. Work begins on the foreground. Here's where the color will be brightest and thickest. making the meadow ‘onthe mear side of the stream seem very close to the viewer, Thus, the foreground is executed with 2 painiing knife carrying a thick mixture of viridian, cadmium yellow, bbumt sienna, amd just a little ‘white. No,painting mediam is added, $0 the paint is really thick ond pasty. The colors aren't mixed tao thoroughly. allowing patches of yellow lind brown to show though the green Step 6. Wheathe foreground is completely covered with thick color, a softhair brash comes in to convert that heavy mass of paint 1 grass, weeds. and wikiflowen. The jobean be done with the tip of a round softhair brush or an id bristle Brsh with wor, Fagged hans. Picking up vari- (ous mixtures of the same col- ‘ors used (a paint the meadow im Step $, the brash paints vertical and diagonal strokes, some dark and some Wighe, 1 suggest the detail of the meadow. A few quick dabs of ‘cadmium yellow og a mixture of cadmium yellow and cad- mium red look like wil flowersDEMONSTRATION 3. MEADOW Step 7. In the final stage, the last few details are aed wwith the tip of a round. softhair brush, More weeds and. blades of grass arc added w the foreground. The dark rokes are burnt sienna and virkdlan. The lighter strokes art yellow ochre and white. The brush continues to add tiny dats of color t0 supgest more Mowers: bright mixtures. of cadmium yellow and white or cadmium yellow and cad- miam red; more subdued mixtures of cadmium yellow, ‘bumt umber, and white. Notice that the stakes on the far side of the stream are a much more subtle eolor—the same mixture used to paint the distant trees in Step 2. The round softhair beush picks up a dark mixnare of ultramarine blue and burnt sienna to add some dark touches to the big tree of the left, Geepening the shadows within the foliage and sug- esting some leaves with a few tiny dats. of this shadowy mixture. The bate tree trunks at the exireme left are streagth- ‘coed with this minture. A littke white is added to this min ture to muke a few shadow lines beneath these trees. The composition needs something to balance the big, datk tree at the left, 0 now the tip of the round brusts uses the same dark mixture to add some bare trunks at the extreme right. A few strokes of pure white are added to these trunks 10 sug- ‘est sunlight, Finally, this tree-inenk mixture darkens the shadowy banks of the steam and strengthens the reflection cof the tee trunk: in the lower left ares. I's worthwhile to-re member the sequence of painting operations im this Land- scape. Look back over thete scven steps, and you'll cc that the job is done from top to bottom and from distance to-fore- ground. The sky andthe most distant wees are panied first in pale, cool. thin color diluted with lots of painting me- ism. The middle grousd—the dark tree apd the meadow beyond the siream—is painted next with colors that ane arker, brighter. thicker, and more rogghly Brushed. The immediate foreground comes last. Here the colors are brightest, thickest, and roughest. Details of grass, weeds, and wildflowers are saved for the foreground. The mid- leground contains only a slight suggestion of deta really can't see the leaves on the tree—and the distant trees contain no detail at al.DEMONSTRATION 4. MOUNTAINS 32 ‘Step 1. The colors of this mountainous landicape ate generally cool, so the pre- iminary brush drawing is made with a mixture phthalocyanine blue and ‘burt sienna thianed with tur- pentine to w liquid conis- tency, The composition is worth studying. The artist places some shattered trees im the immediate foreground— close to the viewer—to sushe the mountains seem loftier and more remote. You fect that you're standing in the Foreground, looking far eto the distance. The top edge of the picture actually cuts off the top of the biggest mows- tain, making it seem se lofty shat ft won't even fit into the painting. Step 2. The darkest, mos dramatic, and most important shape in the painting is. the big mountain, of course Everything else in the pectare ‘will have to be related to that dominant form. So the big mountain is painted fist. A lange bristle brush blocks im the datk shape with broad ttrokes of phthslocyanise blue and burt sienna, with just a slight touch of white and a whicper of yellow ‘ochre. The paint is diluted with medium to a creamy consistency, On the lower slopes. a bit more white is added to suggest a hint of sanfight. ‘Now that the strong ceatdark note inthe painting is established, it's exsier to. make all the odher parts of the painting lighter.DEMONSTRATION 4. MOUNTAINS 33 ‘Step 3. The paler slopes at the base of the dark mountain are further de veloped with the original mixture, but with more white. Now these sarokes are sharper and more distinct, The mouncains in the upper left are painted with thinner mixtures of the same color combination: jphthalo- cyanine blue, bumt sienna, and a litte yellow ochre, plus caouigh white to lighten these roves. Notice thet the warmer mountain contains. more burnt sienna. while the cooler shape contains more phthalocyanine blue. The grassy middl d—just beyond the ered tree stump—is begun with rough strokes of Viridian, burt sicena, yelhrw ochre, and white. The paler warmer strokes obviously contain more burst sienna Step 4, The shadow side of the tree stump and the shad- ‘owy underside of the falles tree trunk are painted with fluid strokes of the same mix. ture that's used fo paint the mountains in the distance Broad toses are laid down by the bristle brush, and then some vertical lines are added with the tip of a round soft hair brush to suggest the weathered texture of he stump. The rich, dack green ‘of the pass jin the immediate foregrownd is scrubbed in— mainly with vertical strokes ‘of viridian, cadmium red, and yellow ochre, At this stage, the foreground colors are this and fluid. Notice that the mountain in the upper left has been made cooler by the add tion af more blue.DEMONSTRATION 4. MOUNTAINS a4 Step S. To warm the grass in the lower left area, a bristle brush scrubs in some cad- mium red and cadmium yellow. The up.and.dows ibrushstrokes suggest the tex- ture of the grass. Just to the left of the stump, some moun- tain color is blended ina the middle ground to suggest a shadowy ravine, Mare white ad bum sienna aPC kde 10 the mountain mixture, which i brushed across the sunlit top of the fallen trunk, This same tone appears in the fallen twigs seauered across the grass. Inthe lower left area. a broken branch is painted in exactly the same way as the fallen trunk. The form and texture of the jagged stump are developed with this same mountain mixture, with ose white Step 6. To suggest snow at the base of the dark moun- tain, a bristle brush applies thick strokes of white tated ‘With the slightest towch of ul- amarine blue and burst umber. A bristle brash com- Pletes the sunlit grass with viridian, yellow ochre, alittle ssadmiui red, and white. The top of the fallen trumk—and the log in the lower left arca—are enriched with thick strokes of the snow mixture Then a round softhair brush picks up a dather version of he mountain mixture to add some evergreens to the mid= dleground. another dark tree at the left, and some dark strokes 10 the forrgrourd. To suggest sunlight on the new tree and grassy texture in the foreground, the brush adds strokes of the stow mixture.DEMONSTRATION 4. MOUNTAINS Step 7. Here's where the soft, smooth, flowing stroke of fat sofihair brush leeds its special magic. Until mow, the (patches of the sky have boon sil bare canvas. Now the Mat softhair brush covers them with a smooth. Fairly fli i ture of yellow echre, burnt sienna, and whine, cooled with the slightest hint of phthalocyanine blue. Then. with more blue added 1 this mitnure and the paint difuted with plenty ‘of medium, the softhair brush adds a choud tothe sky in the ‘upper left—and carries this claud over the mountains. The shoud tooe Berks softy with the underlying mountain scoloe, The softhair brush creates a mare dramatic effect at the extreme right. The cloud tone is carried over the edge of the mountain apd Blended softly into the dark undertore ‘with a back-and-forth motien of the brush: sow the moun: ‘ain seems to disappear into a mysterious mist. A bit of this ccoloe i alto blended into the dark mountasn just behind the shattered stump. Now the distant moumtains really seem re: ‘mote and dramatic, Moving into the middle ground, a bristle brish adds some thick strokes of snow mixture—moastly ‘white, with just a touch of uliramarine blue and burnt vmbcr—io the right of the stump. Ax usual. the final touches of texture and detail are added by the tip of « round softhair brush, Here and there the brash adds a stroke of sshite—tinted with a fithe ‘mow mixture —to strengthen the sunlit areas of the broken trees and branches in the fore: Freund, Then the brush picks up a really dark mixture of phthalocyanine blue and barnt sienna to sirike im the last few shadow lines bencath the trunks and branches, phi few more textural details within the shadow side of the bbroken stump, In the finished painting. notice the effects of sera penpeetine. Theoaly sharp details and the strongest cemtrasts of light and shadow appear in the foregrousd. The midgleground ix painted with much simpler. broader sokes. And the distant mountains ate painted with broad, fiat surkes thatemphasize the simplicity of the shapes and, contain virtually no detail,DEMONSTRATION 5. CLOUDS 36 ‘Step 1. This demonstration is painted on a panel rather than on canvas. The panel isa | sheet of hardboard covered with acrylic gesso. You can buy gesso panels im some am supply stores, tat ifs just as easy fo make them yourself. Buy atin or ajar of this thick, white liguid; add enough ‘water to produce a milky com sitency; then brush one or more coats onto the hard- board with a nylon house- painter's brush. You can see that this panel is. covered with ‘one very thin nat that shows, the strcaky marks of the brush. The preliminary lise is made with cobalt bluc, burnt umber, and ots of ‘wspeatine, Step 2. A sunny sky isn't just 4 smooth, uniform blue like coat of paint oo wall, bat contains lots of subtle color variations. Here's a method for capturing the sublleties of a blue, sunay shy. A bristle Brush covers the sky with short, distinct strokes af co- balt Blue aad white. At the very top, the strekes are darker and. closer together, ‘Lawerdown, the strokes con- ‘in more whine, and there are bbigner spaces between them.DEMONSTRATION 5. CLOUDS 37 ‘Stop 3. Now another bristle brush picks up a mixture of ‘ochre and white. Like the bloe tone applied in Step 2. this mixnare is added to the sky in short, distinct strokes. These strokes of yellow sometimes overlap blue strokes and sometimes fill the spaces berween them. Only few yellow strokes are added towa very top: the ‘yellow strikes become denscr farter dows, Step 4. Alizarin crimson and ‘white are blended on the pal- ‘fig toa pinkish mixtore, Like the yellow strokes in Siep 3, a few sarokes of this pink are scattered across the top of the sky More pink strokes ap pear om either side of the big cloud. But the greatest nam, ber of pink strokes xppea toward the horizon, Now half-slose your eyes and took carefully at Step 4. You can sce how these three colors are beginning to blend to create a sky that's darkest and Bluest atthe top, gradually growing paler and warmer toward the Inorizem. So fac, 0 attompt is made to blend these strokes together, That comes nextDEMONSTRATION 5. CLOUDS 38 ‘Step 5. With short. slightly diagonal strokes, a clean brush works its: way across the sky’ from left to right and from top to bottom, gi Aening ike Bhs, yoo, ad pink strokes. 1's possible, of sourse, to sweep the beusl across the shy with ony strokes that would blend all the colors smoothly together. Bot that Would destroy all the subtle coler variations. The short, diagonal ble soles ceaorill feorae tle suggestions of blue. yellow, and pink which make this sky tone so Luminous and painted with a mixture of the same three coloes (plus white) inthe Step 6 The satis arcas of the clouds are completed with sarving strokes ef white tint- ed with slight tovches of the shadow mixture. The lights and shadows are blended sofily together, bet aot too smoothly; you can still see the that’s used for the sky—with a bite more alizarin crimson in the light tones and more cobalt blue in the shadows ‘And the darker, nearer mous~ tains are painted with a darker version of this mixture— more cobalt blue in the dats sand more yellow ochre in the patch of suelight at left of scene. A few trees are begun ‘with shor strokes of cobalt bbhue and cadmium yellow,DEMONSTRATION 6. SUNSET 40 ‘Step 1. A sunset usually dis- x Plays a particularly dramatic pantera of dark and tight shapes. The dark Landscape “ ¢ and datk clouds are silhoaet: ™ ted against the pale wones of the sky, These dak and light ‘ :: shapes, im turn, are reflected : in the water. It's important to & ) define these shapes carcfolly me in the preliminary brush drawing, which outlines the Siihowettes of the mountains, the clouds, and the shoreline The combination of cobalt blue, alzarin crimson. and yellow ochre ix particularly effective for sky pictures, 38 you've already seem, So this mixture is diluted with wr pentine for the initial brash drawing. b Step 2. The darkest, most ™ 9 sharply defined shape is painted first. The mountains = acre at the horizon ate brushed in ‘ae: with a rich, dark miature = that’s mosily cobaltblue, plus 2 little alizatin crimson. yellow ochre, aad white, Just * below the shoreline, the re- nd flection of these mountains ix added 10 the water. With this dark note clearly defined, it's easier 10 determine just how bt to make the sky and water, I's also easier to paint the dark clouds, which must bbeslightly lighter than the ‘dark landscape,DEMONSTRATION 6. SUNSET ai Step 3. Still working with his same calor combi crimson, yellow ochre, and white—a bristle brush scrubs in the shapes of the chats As you can see, this color ination is amazingly versatile. The cool, dark tones contain all of these col- (os, but the mixture is domi- nated by cobalt blue. The warm tone at the center con- tains less cobalt blue and is dorminaied by alixarin crim son and yellow ochre. Strokes of these mixtures are carried down into the water, which always reflects the sky. And his same mixture, comtaining, morc cobalt blue and less white, defines the murky shape of = hill just below the mountain ot the left. ‘Step 4. Leaving bare canvas for the pale patches of sky and water, a bristle brush cuntinwes to define the shapes of the shoreline. The dark mixture of the itl—mainly cobalt blue, with just a little: yellow ochre and aliza crimsna—ia carried down: ward at the left to create 2 spar of land that juts oat ita the water. The edge of the shoreline is the ieumediate foreground is completed ‘ith this mixture. A round, saft- hair brush adds a few small strokes of this dark tone to suggest the tips of evergreens ising above the dark hill at the extreme left. Then more yellow ochre isedded to com- pltte the warmer tone of the grassy beech, The brash han- le serutches weeds into the beach at the Jower leftDEMONSTRATION 6. SUNSET 42 Step 5. Work begins on the bright patch af sky justabove the horizon. A bristle brush paints thick, horizontal strokes of white, cadmium yellow, and just a Fitle ead sium red bencath the clouds Just abowe the peaks, a little more cadmium red i audded More strokes of this mixture fill the breaks within the lower edges of the clouds ‘Thea this same mixture, with ttle more cadmium s Fepeasied in the water, which now refeets the forms of the peaks, sky and clouds, ‘Step 6. Work continues si multaneously 00 the sky and ‘water, since the same colors must appeas in both. The up- er sky—above and berween the clouds—begins with smouth strikes of cobalt ble and white at the very top Then, as the brush works downward toward the clouds, yellow ochre ard mare shite are added (e this mixture ‘This process is reversed in the wwater: cobalt blue and white Appear at the lower edge. with more white and yellow ochre added as the brush moves up- ‘ward. Bright touches of sua- light are added to the lower edge af the tapmost cloud with thick strokes of cad- mium yellow, cadmium red, and white. Then streaks this rminture are added 10 the cee ter of the bright skyDEMONSTRATION 6. SUNSET Stop 7, Atibe end of Step 6, the canvas is completely cow ered with color. The main shapes and vobors are established Bot now i's time to refine these shapes and colors im the final stage. A large bristle brush moves up and down over the central basd of clouds, sharpening thelr shapes with ver- tical strokes of the ompinal mixture, sometimes lighter and sometimes darker. to creatc a distinct scnse: of light and shadow. A few horizontal strokes of this tone are added to suggest streaky clouds within the sunlit stnp above the peaks. And the topenast cloud! is darkened with this tone. Just as the dark clouds are redefined, so are the sunlit areas of the sky, A small bristle brush adds thick strokes of ead mium yellow.cadmiom red. and white a! the break between the peaks, where the sam is brightest, Then a found softhai beush adds curving strokes of this mixture to brighten the lower edges of the twa top clouds. Notice how a few wigs ‘of this mixture ane added! atthe upper left to: suggest wind: blown strips of cloud. Having defined the dark clowds more clearly. the bristle brush also solidifies the dark reflections of these clouds in the water. Moving horizemtally, the bris- the brush bkends the tones of the water af the left and in the foreground 10 soften the shapes so that they won't distract attention from the more dramatic shapes in the sky. The tip cf & small bristle beush adds a few scrubs of the clowd mitx- ture beneath the evergreens atthe entreme left io suggest the last fem rays of the light falling on the grassy shore. No more details are added. The pacture consists almost entirety cf broad, simple shapes. I's particularly inicresting tor mote thal this sumet consists mainly of cool, subdued colors that frame a few areas of brighter color, Sunrises and sunsets are rarely as brillignt 23 most beginners paint ther. At this time of day, most of the landscape is already in shadow, and ost of the clouds age dark silhouettes. So the ey to paint ing a successfal sunrise or sumset is to surround your bright colors with these somber tones,DEMONSTRATION 7. POND 44 Step 1. A round softhair ‘rush craws the major shapes of the composition with ultra marine blac, burnt umber. ‘ochre, i luted with turpentine, The shapes of the trees are re- flected in the pond, 50 they're repeated in the water, upside- down. The brush defines the Arcos rater casually, but care ‘Step 2. This is ome of those Mightly overcast days when the sualight shines through and lends a soft. golden ghiew Wo the sky and the water, Be cause the water reflects the color of the sky. these two areas are painted first. A big twine brush cowers the chy with broad strokes of yellow schre, ultramarine blue, barat tember, and lots of whine, You can sce that the sky is slightly darker at the right, where it cmiains just a bit more ultra- marine blue and burnt umber ‘The water is painted with these same colors—becomning distinctly darker at lower right, Notice that the water is first painted with vertics strokes, followed by a few Horizontal stokes to suggest of light im the fore- ground.DEMONSTRATION 7. POND ‘Step 3. The distant trees at the cemter of the picture are painted with broad, rough strokes that suggest masses of foliage. A bristle brush ap- (plies ultramaring bhae, aliza- rie crimwom, burnt umber, and white. These colors aren’ mixed toa smoothly on the palette. so you cum see fowches of blac. crimson, or lumber within the individual strokes. Notice how some aps are left between the strokes for the sky to shine through the foliage. The ‘warmer mass of ‘tees to the Feft ts begun with strokes of ultramarine blue, bur umber. yellow schre. apd white. Step 4. The colers of the tees are now carried down imo the water with vertical strokes. First the central tree color is darkened and cuwied with a bit more ubramarine blue.then simked downwand to merge softly with the wet color that alrenty covers the posd. The strokes remain the warmer tne of the foliage at left is darkened with a bis more burnt umber blended ina the water with rauph, vertical strokes. Notice that a small tree i added to the shore at rig ‘with the same colors used for the warm foliage at let.DEMONSTRATION 7. POND a7 Step 7. Work begins on the shore at the left. The soft, warm tone of the dry grass is scrubbed in with vertical and diagonal strokes of wlira- marine blue, burt umber, yellow ochre, and plenty of white. A round brash paints the wee trunks and branches with this same mixture, dark ened with more ultramarine bie, and burt wmber, ‘The ‘dark reflections of these trees are carried down into the water with thick, irregular strokes, The soft tone of the grassy mixture is carried seross the distant shoreline and beneath the willow. Here and there along the shoreting warm touch is added with quick stroke of cadmium yellow, cadmium red, and ‘white to suggest some bright sutumn foliage. ‘Step B. A small bristle brush d round softhair brush ahernate, adding shadows, more trunks, and more branches to the distant foli- age. These dark reflections are pulled downward into the water with vertical strokes. A bristle trish begins to scrub fn the dark tone of the imme- diate foreground with viridian ‘and burmt sienaa. The tip of 2 round brush picks up some white, tinted with the original sky mixture, to add pale streaks of light and ripples on the water. Quick dark and light strokes indicate two ducks ewimmning on the sue: face of the pood. la the lower Jeft aren, a single dark strake becomes a fallen log.DEMONSTRATION 7. Step 9. The weedy foreground ik painted firsi,with rough serokes of yellow ochre. burnt sienaa, ultramarine blue, ane ‘touch of white. The paint is thick and rough, applied with Siffre brash, Then the point of a softhair brush goes back mio: this thick color to pick owt individual, sunlit weeds with scribbly strokes of white timed with yellow ‘ochre. A single stroke of this mixture renders the sunlit top of the fallen log at lower left. Now a small bristle brush ari ‘4 round softhair brush wander over the surface of the pain'- ing. adding touches of darkness and stronger color to heighten the contrasts in the fished painting. Look care- fully and you can see where dark notes are aided to the foli- age and branches with ultramarine blue and bumt sienas. ‘Warm iones are added ta the foliage and to the reflections in the ‘water with various mixtures of burnt sienaa, yellow ochre, and erasional touches of cadmium yellow or cad- ium red, darkened here and there with ultramarine blue. ‘These subtle changes are particularly evicient in the willow at the right, where the shadows aze darkened, more dark branches are added, and a hint of warmth is iene! into the reflection, Among the foliage of the willow, the round rush adds a few strokes of ultramarine ble soficned wi hint of burnt wmiber and white, The completed painting has stronger darks, sharper contrasts, and gseaier warm, The sequence of painting operations is worth remembering First the sky is painted—with its reflection in the lake. This is followed by the painting of the faliage—ar its wetection inthe lake. At this point, the canvas is almost entirely cov- ‘ered with soft color. Imthe final stages, the painting és com- pleted with stronger darks, warm notes, and the usual touches of texture amd detailSELECTING LANDSCAPE SUBJECTS 49 ‘There Are No Perfect Subjects. One of the most famous American landscape painters had a unique sy3- tem for selecting a subject, He walked for a short time—no more than ten or fifteen minutes—until he found 2 comfertable rock ot tree stump to sit an. plus some (ees that would shade his head and his canvas from the sun, (Yes. it's bet to keep your painting in the shade; it's easier to see the colors.) Then he tured around three times, sat down, and stared 10 paint whatever he was facing. This mcthod certainly isn't recommended for everyone. But the fexson is impor tant, The artist knew that, no matter how far he walked, he'd never find the “'perfect™ landscape sub- ject, soe might as well settle for an “imperfect sub- Jeet, which he could transform isto a picture by grouping those scattered trees, leaving out the smaller clouds, and adding some rocks that were behind him. Looking for Potential. Insicad of spending hours ‘wandering about trying to discover a ready-made pic- ture, force yourself lo stop at the first reasonably promising subject. Like the professional. look for a ‘potential picture, Don't worry if the trees are too scar tered, the clouds are too small, and the rocks too fa away, You're not a photographer, but a painrer. You can bring all these scattered elemens wgcther t0 create a satisfying picture Finding Pictorial Ideas. There are many ways to spot a potential picture, The most obvious way i to Took for some big shape that appeals to you, such as a clump of trees, the reflections ina lake, a nck fovea tion, er a mountain peak. You organize the other parts of the landscape around this center of interest, decid- ling how much foreground, background, andi sky to in- clude. then bringing in various “supporting actors” such 65 smaller tes, rocks, and more distant moun- tains, Sull another approach is to look for some inter: sting color contrast, such 8 the hot colors of autumn lees against a background of blue-green evergreens, tr the bright colors of a clump of widowers against the somber background of a gray rock formation. You might also be intrigued by a contrast of light and shadow, such as a flash of sunlight illuminsting the edges of treetrunks in dark woods. Or you might dis- cower an idea for a picture in 4 contrast of shapes, such asthe long, low lines of the plains contrasting with the round, billowing forms of the clouds above Orchestrating the Picture. Having found your subject, you stil! have to decide how to organize the various elements that make a picture. You carr stick that clump of trees ar that rock formation in the middle of the painting, inclade a little sky and a little background, and then go to work. Just as a famous stor needs a supporting cast, the focal point of your picture needs some secondary elements. If the di fant shape in your picture is a big tree, place it a bit off cemtcr and balance it against some smalicr trec— which will make the big tree look that much bigger. A mountain peak will look more imposing with a meadow and same low hills in the foreground. plus some paler, more distant peeks beyond. If those smaller trees, that meadow and hills, or those distant peaks aren't exactly where you want them, you can move them to the right spot in the picture. If they're wo big or too small, don’t hesitate to change their scale. Using a Viewlinder, Many laniscape painters use a very simple tool to help them decide what to paint. Take a piece of cardboard just a bit smaller than the page you're now reading. In the center of the card- board, cut a window that’s about $x 7* (125 mm x 175 mm). Hold this viewfinder at a convenient dis tance from your cye—not too close—and you'll quickly isolate all sorts of pictures within the land- seape. far more pictures than you could paint in a day. ‘You can alse make a viewfinder simply with the fin- gers of both hands. Make It Simple. Knowing what to leuve out (or take ut) is just a8 important as deciding what to pat into a painting. Nature offers you an infinite amount of de- tail, and it's tempting to try to load it all imo the pic- ure. But you can't melude everything, It makes the job of painting much harder and bewilders the viewer. So don't try to paint every weetrunk, branch. wig, andl leaf im the forest, Pick out a few trunks and a few branches: try t paint the leaves as large masses of color. Don't ty (a paint every cloud in the sky. like a vast flock of sheep, but focus on a few large shapes, even if it means merging several small clouds inta big one—and just leaving out a lot of others. Don'ttry to paint every rock on the beach; pick out a few large rocks for your cemter of interest, then inchute some smaller ones to make the big ones look bigger.Don’t divide your landscape intotwo equal halves by plac- ing the focal point of the picture im the dea ceates. Here. the trunk of the big ce runs right down the middle to eae 4 dull, symmetrical composition, Ta make things warse the base of the tree sits right on the lower edge of the picture. ‘while the top of the tree pushes right ost past the epper edge. So the composition Looks teribly crowded. (Do place the focal point of your picture oft center, Now the trunk of the big ue divides the picture into unequal pans. ‘The composition is also improved because the big tree at the ight is Balanced by a smaller troc af the left, And there's ‘ote roomnabove and below 10 give the composition 3 more spacious feeling [Don’t nan the horizon straight across the ceater of the pic- ture, Here, the distant edge of the meadow becomes line that divides the composition into two equal halves, abowe and below. This is justas dull as a big treetrunk that splits the composition into twe vertical halves. Do place the horizon above or below the center of the pic- ture. Now the distant edge of the field is stighily above cen- ter. This nol only divides the canvas ini more interesting shapes, but allows mare space for the meadow and for the stream that carries the eye back into the pictureCOMPOSING LANDSCAPES Don't construct a kind of symmetsical “frame” that tums the center of the picture ineo a box. Here. you can see that ihe dark trees have been placed neatly around the sunlit tect angle of the lake and the distant foliage. The rectangle is right in the dead center i the picture. This ix another one of those dull compositions Do place your “frame” off-center Now the trees have heen mowed tothe right. which means that the suntit box herween, the trees is also farther to he right. And the sunlit focal Posnt of the picture is mow balanced by a dark tree at the left. This is obviously 2 more interesting composition [Don't lead the eye out of the picture, The dark stream en= Jets the composition at the Bottom and wicks around to the right, carrying the eye out past the right edge, You can rake this same mistake with a mad. a fence. or any com Positional ckememt that Keads the cye across the landscape, Do lead the eye into the picture and block any exit. Now the stream has been moved famber to the left, It still winds ‘around to the right, but the eye is stopped from leaving the ppicture—those trees at the right side farm a harrier. Sa the ‘cy travels up the stream and then bounces back into: the ‘center of the composition.LIGHTING IN LANDSCAPES 52 is coming from, The direstion of the light will determine Bow much light and how much shadow appear 00 any subject —uch as these trees. this landscape, the light is com- ing from the left. Thus, the left ‘sides of the foliage and the trunks sarc in sunlight, while the rest is in uhsdow. And shadows are cast of the ground 10 the right. This kind of lighting creates a strong contrast be- ween light and shadow, giving the wees & dack, dramatic form. from the left, slightly slightly in front of the ‘wees. More of the foliage isin light the sky. These are the same: trees you soc in the precoding illustra- tion, but the distribation of light and shadow is tually changed,LIGHTING IN LANDSCAPES: 53 Mountains in Back Light. The sum is low in the sky and behind the mountains. Just s bit of light creeps around the edges of the peaks, but they're almost entirely im darkness. ‘This lighting effect is most common ‘at suneise and at sunset, when the big shapes of the landscape become dark silhouenes. Landscape. paint- ems often choose this type of light- ing to create a dramatic mood. Mountains In 3/4 Light. Now the light comes from slightly above the peaks and from the left. This en- larges the suslit planes and reduces the shadow planes. The landscape is sunnier, but less dramatic. Try painting the same subject—whether is trees, peaks, rocks, or what: cever—at different times of the day to see how the light alters thelr forms.LINEAR PERSPECTIVE 54 Stream in Perspective. The zigeng shape of this stream. cotting across the meadow, looks random and unpredictable. But the stream clearly moves back into the dis- ‘anee—the shapes obey the “laws” ‘of linear perspective Diagram of Stream. Acconding te the “laws” of linear perspective. parallel lines seem to converge as: they approach the horizon. The dis gram simplifies the stream into a scrics of oblong boxes. Notice how the sides of the boxes gradually ‘converge as the oblong shapes ap proach the distant horizon. This is an effect you commoly see in rail- road tracks, walls, and other geo metric objects. But ifs just as true when you're painting irregular foems such as a stream or a rosd.,Mountain Range. Acrisl perspec- tive is actually much more com- mon—and much more weful—in ‘sedveape painting than Linear per= spective. According to the “laws” of arial perspective, mear objects are brighte, exhibiting the mow detail and the sharpest light and dark contrast; distant objects grow pales and lew detailed, exhibiting Jess contrast between light amd shadow. These are ob- ‘vious in this mountain la . where the sunlit fiekts and the nearby slope are more distinct than the paler forms of the slopes in the distance Woods, Near and Far. The effects of serial perspective are just as obvious in this woodland land. scape. In the immediate fore- ‘ground, you can Gee the details of graves, weeds, trunks, branches, and twigs, The more distant trusks (pow paler and leis distinct. And the mass of trees in the remote dis tance becomes a pale bur,BRUSHSTROKES CREATE TEXTURE 56 madhy any landscape, try te. plan your ‘unique character wf the subject gc is rendcred with wavy, ragged strokes that emphacize the craggy texture of the bark The lighter stokes are particalasly Pain wonald be rough if y surface of the canvas, The roughness reflects the roughness of the old tree.TEXTURAL TECHNIQUE 53 ‘Step 1. The rugged ol tse: begins with a brush drawing that already reflects the character of the subject. ‘The sirokes are made with quick, choppy movements of the hand. ‘The brush doesn’t carry tao. much color. sc the texture of the cams. treaks up the strokes and makes the (brush mark seem mare ragged, Step 2. The tipof a small flbert re- inforces the darks of the trunk and adds shadows with rough, ragged strokes, The brush doesn't move oo carefully over the surface of the canvas, but makes erratic, jerky, scrubby movements. Thus. the strokes have a ragged, irregular ‘quality that maiches the weathered form and texture of the ince.TEXTURAL TECHNIQUE 59 Step 9. A flat softhair brush a smooth, eves sky tone around and bebind the tree. The smoothness of this tone emphasizes the roughness of the tree by con- wast. Then bristle brush begins to serub in the dark tones of the trunk. [blurring and softening some of the ‘original Drustrwork applied in Steps Vand 2. So now the tip of a round softhair brush returns to reinforce some of the dark lines, The brush is presed down hard, spreading the hhairs so that the strokes have a more ragged quality. The round brush al re-establishes some of the dark Tbranches at the right: ‘obliverated by the tone of the sky. Step 4, The dark trunk, branches, and twigs are completed with quick, choppy strokes of a small fil- Ibert and a round softhair brush ‘Then the fulbert and the softhair ahemate, applying thick lines of pale color over the darks to empha- size the sualight falling om the ‘weathered, irmegular texture of the lbark. These light strikes contain no ing medium. The calor ix thick, just as it comes from the imube. The strokes actually stand up, slighly from the surface af the ean- vas, The texture of the paint ap- pears to maich the texture of the subject.MODELING TECHNIQUE 60 ‘Step 1. The preliminary brush drawing is maie with very fluid color diluted with enough turper- tine ta make the strokes flow smoothly aad rhythmically. The round softhair brush carefully traces all the carving forms of this. hilly landscape —_ Stop 2. The bristle brush mow be- 0 mee! the forms in the Fore: ground, Vertical strokes move down the shadowy side of the cliff at the lower right. Acthe left, a t+ angle of flat land is painted with horizontal strckes. Above this, the dark trees are modeled with short, — rounded strokes that begin to match the round masses of the foliage -MODELING TECHNIQUE Step 3. The placid sky is covered ‘with smooth, horizontal strokes that become almast invisible, The rounded forms of the distant hills sae first painted with curving hoc ‘tonal strokes. These are Followed ‘with short, vertical strobes that sag. pest the vertical, shadowy faces of the cliffs. The brush moves im rhythmic curves to match the rounded forns of the meadow, The lat portions of the meadow are ten- dered with straight, horizontal strokes, |. To reflect the growing loag, hythane, curving lines across the tmeadow and shoe, shythmic: Fines for the treeirunks. The ferc- ground is completed with serubby strikes im which the brush is mared Up and down to suggest the teatare of the grass and weeds on the nearby billlop,WENDON BLAKE Oil Landscapes Step by Step ee the art world can provide the challenges and satisfaction of creat: ‘a successful landscape with oil paints. Whether beginners or longtime peaners artists who would like to paint thelr own landscape masterpleces will find this step-by-step guide an indispensable compankon. ‘The heart of this beautifully flustrated, easy-to-follow book is a 32-page section lin full color, which leads the reader easily through the stages of development ol ‘seven stunning (and varied) landscape paintings by the brilliant landscapist George Cherepov—at the same time providing necessary lessons on the palnt- ling of trees, mountains, meadows, streams, ponds, clouxis, and sunsets. Inchuded in this section are useful demonstrations of colors used lor panting trees sky land, and water. Readers will also fine expert practical advice about selecting colors and media, ‘brushes, palettes, and other equipment; about the varying uses of bristie and softhair brushes; and about some af the problems the beginning landscape artist may face in depicting trees, mountains, and snow, In addition, the author has provided a wealth of tested tips.on selecting landscape subjects, compos ‘ton, lighting, linear and aerial perspective, and ways to model and give texture to the landscape elements. Dover (1081) raved reilleation of Lendbcapes do OR Sus patlehad by Hlustrations. 54 black 1s00-Guptill Publications, New York, 1979. 63 color and-white Illustrations. Introduction. pp. 8% x LI. Paperbound. ALSO AVAILABLE ‘Carison’s Gus To Laxnscare Parise, Joba F. Carlson, 4p. 88 x 11. 22927-0 Pa. $8.95, ‘Coon rox THe Ou, Parvrex, Wendon Blake. 160pp. 8% x 11. 40472:2 Pa. $16.95 Lannscare Dauaina Step wy Step, Wendon Blake. 8Opp. 8% x 11. 402010 Pa. $7.95. Tht AxreTic Anatomy OF Tenis, Rex ¥. Cole, 47pp. SX x BY. 21475-3 Pa. $9.95 Free Dover Fine Art and Art Instruction Catalog (582833) available upon request. ISBN O-4die-4h527-4 es WM