Acrylic - Landscapes - Learn To Paint Landscapes in Acrylic Step by Step (PDFDrive)

landscapes
Acrylics are the perfect choice for any artist. They are extremely versatile, and they are the
most forgiving when it comes to changes or corrections. Like acrylics, landscapes are also
extremely versatile as a subject. From springtime storms to classic winter scenes, each
painting in this book was inspired by the beauty of nature.
CONTENTS
Tools & Materials .....................................2 Adding Drama.......................................14
Color Basics ............................................4 Highlighting Specific Elements ..............20
Painting Techniques ................................6 Depicting Landmarks ............................28
Using a Reference Photo.........................8 Painting From Memory ..........................34
Proof 1
Acrylic Painting Landscapes_int_11440.indd 1 23/6/16 4:28 pm

Job: 11440 Title: HT342 - Acrylic Painting Landscapes 9781633221475 (ProVision)
Text Page: 1
Tools &
Materials
Paints
Paint varies in expense by grade and brand. Very
inexpensive paints might lack consistency and affect your
results, but buying the most costly color may also limit you.
Find a happy medium.
Brushes
Synthetic brushes are best for acrylic painting because their strong filaments can withstand the caustic nature
of acrylic. Build a starter set with small, medium, and large flat brushes; a liner (or rigger) brush; a medium fan
brush; and a hake brush.
Round brushes are good for producing

a variety of strokes, and are a great
Round Brush choice for more delicate work.
Flat brushes are ideal for creating
straight edges, thin lines, and strokes
Flat Brush
of uniform width.
Liner brushes are perfect for fine

lines and details.
Liner (or rigger) Brush
Fan brushes are great for

loosely dabbing on paint, light
blending, and light drybrushing.
Fan Brush
A hake brush is used to lay in

washes and create soft blends
between colors.
Hake Brush
Proof 1
2 | ACRYLIC

Text Page: 2
Palette knives are slightly
rounded at the tip.
Palette & Painting Knives
Palette knives are mainly used to mix colors on
your palette; they come in various sizes and
shapes. Some can also be used for applying
paint to your canvas, creating texture in your
work, or even removing paint.
Painting knives are pointed and a bit

thicker, with a slightly more flexible tip.
Palettes
Palettes for acrylic paint range from white, plastic
handheld palettes to sheets of plexiglass.
Sponges
Sponges are great for dampening your canvas and
applying paint to create texture.
Additional Supplies
Some additional supplies you’ll want to have on
hand include:
Paper, pencils, and a sharpener for drawing,
sketching, and tracing
Jars of water, paper towels, and a spray bottle
of water
Painting Surfaces
Blackboard chalk and/or vine charcoal for
Although you can paint on many surfaces, canvas is the
sketching over dry paint
most popular choice. Pre-primed and stretched canvas,
which is available at arts and craft stores, is stretched taut Acrylic glazing medium or retarder
over a wood frame and coated with acrylic gesso—a white
primer that provides an ideal surface for holding paint.
Proof 1
LANDSCAPES | 3

Text Page: 3
COLOR
A basic knowledge of color and color relationships is essential in
learning how to paint. One of the easiest ways to approach color is
BASICS
by seeing it on a “color wheel,” which is a visual organization of color
hues around a circle. Seeing the colors organized in this fashion is
helpful for color mixing and choosing color schemes.
Color Wheel
The color wheel helps us see relationships between primary, secondary, and tertiary colors. Primary colors are blue, red,
and yellow. We can create a multitude of other colors by combining blue, red, and yellow in various proportions, but we
can’t create the three primaries by mixing other colors. Secondary colors include orange, green, and violet. You can create
these colors by combining two primaries. Red and yellow makes orange, blue and red makes violet, and yellow and blue
makes green. Tertiary colors are created by mixing each primary color with its neighboring secondary color. These colors
include red-orange, yellow-orange, yellow-green, blue-green, blue-violet, and red-violet.
Yellow
Yellow-green Yellow-orange
Green Orange
Blue-green Red-orange
Blue Red
Blue-violet Red-violet
Violet
Complementary Colors
Complements sit opposite each other on the color wheel. For example, red sits
opposite green, blue sits opposite orange, and yellow sits opposite purple. These
colors are considered opposites in their hues and yield the maximum amount of
color contrast possible. When complements are mixed together, they form a dull
gray, brown, or neutral color.
Proof 1
4 | ACRYLIC

Text Page: 4
Neutral Colors
Neutral colors are browns and grays, both of which
contain all three primary colors in varying proportions.
Neutral colors are often dulled with white or black.
Artists also use the word “neutralize” to describe the
act of dulling a color by adding its complement.
Color Temperature
Color temperature refers to the feeling one gets when viewing a color or set of colors. Generally, yellows, oranges, and reds
are considered warm, whereas greens, blues, and purples are considered cool. When used within a work of art, warm
colors seem to advance toward the viewer, and cool colors appear to recede into the distance. This dynamic is important to
remember when suggesting depth or creating an area of focus.
Cool Warm
Color & Value

Within each hue, you can achieve a range of
values—from dark shades to light tints. However,
each hue has a value relative to others on the
color wheel. For example, yellow is the lightest
color and violet is the darkest. To see this clearly,
photograph or scan a color wheel and use
computer-editing software to view it in grayscale.
It is also very helpful to create a grayscale chart
of all the paints in your palette so you know how
their values relate to one another.
Proof 1
LANDSCAPES | 5

Text Page: 5
Painting
Learn to manipulate acrylic paint to create a
wide range of strokes, textures, and interesting
Techniques
effects. Here are some of the most common
techniques.
Wet-into-Wet Apply color on a Stippling Dab on color quickly, Scumbling With a dry brush, lightly
dampened canvas or next to another creating a series of dots. scrub semi-opaque color over dry
wet color. Blend by lightly stroking paint, so the underlying colors show
over the area where the colors meet. through.
Use your brush to soften the edge,
producing a smooth transition.
Glazing Apply pure, transparent Wash To create a thin wash of color, Drybrushing Using a dry brush, apply
color of watery consistency over an thin the paint and stroke it evenly paint directly to a dry canvas for a
existing color to change, modify, or across your surface. rough brushstroke.
tone it down.
Dabbing Use press-and-lift motions Painting Knife Applying paint with a Scraping Using the tip of a painting
to apply irregular dabs of paint. For painting knife can result in thick, lively knife or the end of a brush handle,
more depth, apply several layers of strokes that vary in color, value, and “draw” into the paint to remove it
dabbing, working from dark to light. height. from the canvas.
This is great for suggesting foliage and
flowers.
Proof 1
6 | ACRYLIC

Text Page: 6
Spattering Load a brush with thinned Sponging Apply paint by dabbing Impasto Use a paintbrush or painting
paint, and tap it over a finger to fling with a sponge to create interesting, knife to apply thick, varied strokes,
droplets onto the canvas. spontaneous shapes. Layer multiple creating ridges of paint.
colors to suggest depth.
Lifting Out Use a moistened brush or Graduated Blend Stroke two different
tissue to lift color off of a wet wash. colors onto the canvas horizontally,
leaving a gap between them. Continue
to stroke horizontally, moving down
with each stroke to pull one color into
the next.
TIP
o o l , a s well
u h o l d your t load on
yo you
The wayw much paint turn it, and
as ho irection you e it will all
it, the d you manipulat your stroke.
f
the waye the effect o
n
determi
Proof 1
LANDSCAPES | 7

Text Page: 7
PROJECT ONE
using a
Reference photos are great tools to help
get your painting started. But remember,
Reference Photo
the goal is to interpret a subject in your
own unique way, so don’t feel the need to
copy every detail.
Use yellows and oranges BACKGROUND

where the tree will be and brilliant yellow-green
greens and browns where
the rocks will be. burnt umber
cadmium yellow light
Hooker’s green
Naples yellow
red oxide
titanium white
Detail Establishing the light and dark

areas at this stage makes it easier to
build details later.
Dampen the canvas with a sponge. Use a large bristle fan brush to block in the
background colors, painting wet-into-wet. Keep strokes quick, loose, and varied
to create an abstract pattern.
Proof 1
8 | ACRYLIC

Text Page: 8
Once the background layer is dry, draw the major elements of
the scene using a small round brush and a watery burnt umber
mixture. Pay attention to the placement of the waterfall, the tree,
TIP
and the rocks, but don’t worry about details at this stage.
When drawing outlines, white

chalk works well on dark
backgrounds, and vine charcoal
sticks work well on light
backgrounds.
Proof 1
LANDSCAPES | 9

Text Page: 9
PROJECT ONE | using a reference photo
Use a #6 flat bristle brush and titanium

white straight from the tube for the
waterfall and other light areas.
Using loose and fast

strokes, block in the
rock and tree shapes
using the light and
dark rock blocking
colors. Don’t worry
about capturing
the right colors.
Concentrate on lights
and darks; colors can
be adjusted later.
L IGH T RO CK BLO CK ING
red oxide
titanium white
ultramarine blue
DARK RO CK BLO CK ING

& T REE
burnt umber
+
ultramarine blue
=
Proof 1
10 | A C R Y L I C

Text Page: 10
LE AV E S
cadmium yellow
+
titanium white
=
FALLE N LE AV E S
Leaves mixture
+
cadmium red light

=
With a large fan bristle brush, apply the

Add cadmium red light to the leaves mixture and touches of brilliant
leaves mixture to suggest fallen yellow green using a tapping and stippling
leaves on the ground. motion to create a realistic look of foliage.
Proof 1
LANDSCAPES | 11

Text Page: 11
PROJECT ONE | using a reference photo
Use a wooden
skewer or toothpick
to place thick dots
of bright yellow.
Use an old
toothbrush to
splatter watery
brown paint.
Add another branch to the main tree

form to balance the composition, and Detail Add a light
add additional texture to the foliage. scumble of ultramarine
blue to the edge of the
waterfall and lower area
of water.
Proof 1
12 | A C R Y L I C

Text Page: 12
Define the rocky area and paint the smaller tree branches. Add any final details as needed. Alter colors—intensify or tone
them down—and place accents to add sparkle.
Proof 1
LANDSCAPES | 13

Text Page: 13
PROJECT TWO
adding drama
Build off of your reference photo by taking
artistic license. The reference photo in this
project has a pale, bluish sky, but switching
to a sunset sky will add drama and enhance
your subject.
Dampen the canvas with a sponge, SK Y BLO CK ING

and use a large bristle fan brush
to block in the background colors,
ultramarine blue
establishing initial lights and darks.
+
Treat the painting like a rough
sketch, brushing quickly and using titanium white
wet-into-wet blending for a soft, +
hazy look. Let the paint dry.
touch of yellow oxide
=
BACKGROUND
brilliant green
Brush brilliant green red oxide

into the area below
the tree line.
Add red oxide under

BACKGROUND T REE S
the shoreline.
Hooker’s green
+
yellow oxide
=
Hooker’s green
+
burnt umber
=
Proof 1
14 | A C R Y L I C

Text Page: 14
Add red oxide
and yellow oxide
to create color
variation in the
tree leaves and
to establish the
tree’s reflection.
Using the large bristle fan brush, tap and scrub the
darker background trees mixture to indicate the shape
TIP
and mass of the tress in the foreground.
Tube greens are usually too strong

and unnatural looking for landscape
painting. It’s best to mix your own.
Proof 1
LANDSCAPES | 15

Text Page: 15
PROJECT TWO | adding drama
T REE T RUNK S
burnt umber
+
ultramarine blue
=
T REE FOL I AGE
light background
trees mix
+
light background
trees mix
+
brilliant green
Apply various shades of the tree foliage colors using a sponge and bristle fan brush to add
dimension and texture to the foliage. Indicate the shapes of the tree trunks with a mixture of burnt
umber and ultramarine blue. Let this layer dry completely.
Proof 1
16 | A C R Y L I C

Text Page: 16
TIP
o e s n ’t t u rn out
nt d
If the ti would like, simply e
how you ith a wet spong
w
remove it d try again!
an
Dampen the canvas with a sponge.

Over the entire surface, use a #6
fan brush to apply a transparent
tint by glazing over with the sky
tint mixture.
SK Y T IN T
quinacridone red
+
touch of cadmium yellow

=
Detail The reference photo

has a pale, bluish sky, but
switching to a sunset sky in
yellow-and-orange hues will
add drama and enhance your
subject beyond simply copying
the photo.
Proof 1
LANDSCAPES | 17

Text Page: 17
PROJECT TWO | adding drama
Add a scumble of sky

blue mixture to define
the clouds. Add more
foliage, then add the
details of the leaves
and branches to the
trees. Intensify the
darker colors.
SK Y BLUE
ultramarine blue
+
titanium white
=
TIP
t c o n t e m p la tion of
Quie c a n h elp you
t in g
your pain nges that will
visualize chayour work.
improve
Proof 1
18 | A C R Y L I C

Text Page: 18
Darken the shoreline
and suggest wavy
reflections in the
water. Add a thin
layer of cadmium
red light to create
the halo effect of the
sun shining through
the trees. Add
cadmium orange to
imply reflected light.
Add shapes
to imply farm
structures in the
distance.
Add a few
bright spots of
titanium white
to imply flowers
on the riverbank.
Detailing the Figures Adding a figure or two

in the lower right section of the composition E X T R A DE TA IL S
creates interest and establishes the trees’
scale. Using the tip of a wooden skewer (or
cadmium orange
toothpick) and some thick pigment, indicate
a couple of figures, such as a parent and cadmium red light
a child. Details aren’t necessary, as the
pigment’s brightness will draw the viewer’s
eyes to the area and guide them into the
landscape.
Proof 1
LANDSCAPES | 19

Text Page: 19
PROJECT THREE
highlighting
Highlighting a particular element of
your painting can create interest and
specific elements
depth. In this painting, all of my color
and composition choices are focused
on emphasizing the trees in blossom.
Use a #6 bristle fan brush to cover a dampened BACKGROUND Suggest shoreline with a
canvas with various mixtures of the background
colors. Indicate the tree shapes with a mixture of various amounts of mixture of red oxide and a
Hooker’s green and red oxide.
ultramarine blue bit of yellow oxide.
+
various amounts of
titanium white
+

=
Proof 1
20 | A C R Y L I C

Text Page: 20
Add stronger dark areas where
needed, and strengthen the
Add more red oxide to
contrasts between light and dark define the shoreline.
without adding too much detail.
T REE SHAPE S
TIP
a
Hooker’s green
+
Creating d
red oxide sets a stro efined lights and d
= ng base to arks
and textur d e v e lo p
es later. details
Proof 1
LANDSCAPES | 21

Text Page: 21
PROJECT THREE | highlighting specific elements
Use titanium white and a

small piece of sponge to dab
L IGH T T REE FOL I AGE Add highlights using
in the tree’s new blossoms. titanium white to areas
brilliant light green
Then use the light tree foliage
+
where the light catches.
mixture to apply more light
areas to the middle section of titanium white
the trees. +
Proof 1
22 | A C R Y L I C

Text Page: 22
Break up the clump of trees
by painting dark clouds over
some green areas.
To emphasize the white tree blossoms, darken the color of the sky and add darker
clouds to increase the contrast in your painting.
TIP
Lighting is one of the most important
aspects of any painting, regardless of
subject. Establishing the source of light
and adding the light’s sparkle will make
your painting pop.
Proof 1
LANDSCAPES | 23

Text Page: 23
Using chalk, draw over the tops of the background trees to

add a lighter streak in the sky, lowering the horizon line of Detail Adding a small
the distant trees. figure to the painting,
like a fisherman, can
help the composition
and establish the scale
of the scene. Use a
TIP
small piece of chalk
to draw a figure of a
fisherman. If you don’t
like the pose, wipe off
way to test
the chalk and try a
is a n e a s y different one.
Using chalk ant to make to your
changes you w like the changes, simply
ou
painting. If y chalk. If not, use a damp
paint over therush, or tissue to erase.
sponge, b
Proof 1
24 | A C R Y L I C

Text Page: 24
Apply titanium white thickly over the chalk to solidify the changes. Add and intensify the lights and darks.
Proof 1
LANDSCAPES | 25

Text Page: 25
Reapply white
to the blossoms
in the trees.
Add white
highlights to
the water.
Add tree trunks and branches. Use a fan bristle brush to apply
a wash of diluted bright aqua green to tint the sky just below the
storm cloud and the water.
Detail The aqua green
wash is perfect to depict
the powerful and vivid
colors of a stormy sky.
Don’t be afraid to use artistic

license and your imagination
to determine what details are
TIP
needed to express your vision. WA SH
bright aqua green

Proof 1
26 | A C R Y L I C

Text Page: 26
Balance the white
tree blossoms with
Acrylic Painting Landscapes_int_11440.indd 27

Acrylic Painting Landscapes_int_11440.indd 27
bright sparkles of
light dancing on the
Text
water’s surface.
Add additional tree trunks and branches to complete the trees. Darken the tree trunks and foliage, and add clothing details to the fisherman, including
LANDSCAPES |
Page: 27
a touch of cadmium red medium for his shirt. Add a fishing boat pulled up on the shore, an overhanging branch near the boat, and a flock of birds to
add interest to the scene.
27
23/6/16 4:56 pm
23/6/16 4:29 pm
Proof 1
PROJECT FOUR
depicting
Landmarks add appeal and interest to any landscape
scene. Use basic shapes and small details to capture its
landmarks
essence. This landmark, Holy Hill Basilica, is located in
southeastern Wisconsin, situated on a high kame.
Dampen the entire canvas with a wet sponge. With a #6 bristle fan brush, block in the background colors, establishing initial
lights and darks. Keep strokes quick and loose, and work top to bottom.
BACKGROUND
TIP
cadmium orange
cadmium red light
dioxazine purple
e l i n e s can
ui d o
Chalk g rmine where t d
e n
help dethe middle grou
titanium white
yellow oxide place t foreground.

and
Proof 1
28 | A C R Y L I C

Text Page: 28
Use chalk to indicate the placement of church spires and the shape of the hills along the horizon.
Proof 1
LANDSCAPES | 29

Text Page: 29
PROJECT FOUR | depicting landmarks
Use a #8 bristle bright brush loaded with the church mixture to scumble in CH URCH
the distant church shape (see page 6 for technique). Use a #4 bristle bright
brush to suggest the shapes of the spires.
cadmium red light
+
dioxazine purple
+
titanium white
=
Proof 1
30 | A C R Y L I C

Text Page: 30
Use a bristle brush to soften the edges on
the upper and right sides of the clouds.
Apply the clouds and foliage mixture thickly to CLOUDS & FOL I AGE DARK FOL I AGE
form sunlit cloud shapes and to add brilliant fall
foliage. Add the dark foliage mixture to anchor
cadmium orange Hooker’s green
the foreground.
+ +
cadmium red light burnt umber

= =
Proof 1
LANDSCAPES | 31

Text Page: 31
PROJECT FOUR | depicting landmarks
Increase the height of the trees

on the left to break up the
skyline and add interest.
Re-establish the contours of the hills. Use a mix of dioxazine Apply cadmium red light
purple and titanium white to improve the church silhouette.
With a fan brush, tap in some dark foliage and pine trees in the straight from the tube for a
foreground using the dark foliage mixture. splash of autumn color.
TIP If one of the church

looks misplaced, pain spires
t
with a matching sky over it
Then repaint it in a color.
mor
appropriate spot. e
Proof 1
32 | A C R Y L I C

Text Page: 32
With the tip of a wooden
skewer and some thick pigment,
add bright accents to the
clouds facing the setting sun.
Use ivory black to add

branches and tree trunks.
Add architectural details to the church using the CHURCH DE TA IL S DARK CLOUDS
church details mixture. With a feathery light scumble,
add cloud shapes to the left sky area using the dark Church mixture dioxazine purple
clouds mixture. Use the clouds and foliage mixture to
+ +
add texture to the foreground trees. Use the fan brush
to apply a wash of diluted naphthol crimson to adjust touch of naples yellow cadmium orange
the color of the clouds in the upper left sky area. = +
touch of titanium white

=
WA SH
naphthol crimson
Proof 1
LANDSCAPES | 33

Text Page: 33
PROJECT FIVE
painting from
Using visual memory will help to add unifying
details to your painting. Develop your visual
memory
memory by sketching from life, studying photos,
visiting art museums, and observing nature.
BACKGROUND
phthalo blue
cadmium red
cadmium orange
titanium white
DARK T REE S
burnt umber
+
phthalo blue
+

=
t i n g , d o n ’t be
Wet the canvas with a sponge, and use a
n s t a r t i n g a pain details or the
#6 bristle fan brush to loosely apply various Whe e d with the e on covering
TIP
n c e r n
mixes of the background colors. Use the
overly co ette. Concentrat ting a rough
color pal canvas and crea tion.
dark trees mixture to indicate the dark trees
along the horizon and the frozen lake. i
d
the prime out of the compos
lay
34 | A C R Y L I C

Use a palette knife to
apply a thick coat of
titanium white directly
from the tube.
Adjust the color of the sky using various shades of the sky mixture. SK Y
Softly indicate the clouds with a mixture of cadmium red light and
white, and refine the trees using the dark trees mixture again. ultramarine blue
+
various amounts of
cadmium red light
+
various amounts of
titanium white
=
LANDSCAPES | 35

PROJECT FIVE | painting from memory
Blackboard chalk is easy to

erase and change with a damp TIP
sponge, brush, or tissue.
Use chalk to sketch roof structures, tree trunks, and a large tree to add interest and indicate scale.
36 | A C R Y L I C

T REE SHAPE S
burnt umber
+
burnt sienna
=
Paint over the chalk

sketch of the roofs
and tree branches
with titanium white
to fix the shapes.
Using the tree
shapes mixture,
scumble over
the sketch of the
main tree’s foliage,
the tree trunks
and background
trees behind the
buildings, and the
foreground area.
LANDSCAPES | 37

PROJECT FIVE | painting from memory
Add a stone bridge and a country lane leading toward the wooded area. Add lights in the windows. Add an orange glow
to the treetops for a warm splash of color.
38 | A C R Y L I C

Use a damp sponge and titanium Darken the sky to create more contrast and add dramatic highlights to
white to depict the snowy foliage on the clouds. Brighten and add definition to the cloud shapes.
the trees and bushes.
Add a road along

the frozen lake,
boulders, snow-
covered branches,
and a lamppost. Add
the figures of a family
out for a winter stroll.
Sketch the figures with
vine charcoal before
painting them in.
LANDSCAPES | 39

Intensify the darks and brighten the whites. Add a wash of cadmium red light over the cloud shapes. Add a wash of yellow
oxide and cadmium red light over the white snow area. Add a tint of ultramarine blue to indicate shadowed areas.
40 | A C R Y L I C


Acrylic - Landscapes - Learn To Paint Landscapes in Acrylic Step by Step (PDFDrive)

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Acrylic - Landscapes - Learn To Paint Landscapes in Acrylic Step by Step (PDFDrive)

Uploaded by

Copyright:

Available Formats

landscapes

Tools & Materials .....................................2 Adding Drama.......................................14

Color Basics ............................................4 Highlighting Specific Elements ..............20

Painting Techniques ................................6 Depicting Landmarks ............................28

Using a Reference Photo.........................8 Painting From Memory ..........................34

Acrylic Painting Landscapes_int_11440.indd 1 23/6/16 4:28 pm

Round brushes are good for producing

Liner brushes are perfect for fine

Fan brushes are great for

A hake brush is used to lay in

Acrylic Painting Landscapes_int_11440.indd 2 23/6/16 4:28 pm

Painting knives are pointed and a bit

Acrylic Painting Landscapes_int_11440.indd 3 23/6/16 4:28 pm

Acrylic Painting Landscapes_int_11440.indd 4 23/6/16 4:28 pm

Color & Value

Acrylic Painting Landscapes_int_11440.indd 5 23/6/16 4:28 pm

Acrylic Painting Landscapes_int_11440.indd 6 23/6/16 4:28 pm

Acrylic Painting Landscapes_int_11440.indd 7 23/6/16 4:28 pm

Use yellows and oranges BACKGROUND

cadmium yellow light

Detail Establishing the light and dark

Acrylic Painting Landscapes_int_11440.indd 8 23/6/16 4:28 pm

When drawing outlines, white

Acrylic Painting Landscapes_int_11440.indd 9 23/6/16 4:28 pm

Use a #6 flat bristle brush and titanium

Using loose and fast

L IGH T RO CK BLO CK ING

DARK RO CK BLO CK ING

Acrylic Painting Landscapes_int_11440.indd 10 23/6/16 4:28 pm

cadmium red light

With a large fan bristle brush, apply the

Acrylic Painting Landscapes_int_11440.indd 11 23/6/16 4:28 pm

Add another branch to the main tree

Acrylic Painting Landscapes_int_11440.indd 12 23/6/16 4:28 pm

Acrylic Painting Landscapes_int_11440.indd 13 23/6/16 4:28 pm

Dampen the canvas with a sponge, SK Y BLO CK ING

Brush brilliant green red oxide

Add red oxide under

Acrylic Painting Landscapes_int_11440.indd 14 23/6/16 4:29 pm

Tube greens are usually too strong

Acrylic Painting Landscapes_int_11440.indd 15 23/6/16 4:29 pm

T REE FOL I AGE

Acrylic Painting Landscapes_int_11440.indd 16 23/6/16 4:29 pm

Dampen the canvas with a sponge.

touch of cadmium yellow

Detail The reference photo

Acrylic Painting Landscapes_int_11440.indd 17 23/6/16 4:29 pm

Add a scumble of sky

Acrylic Painting Landscapes_int_11440.indd 18 23/6/16 4:29 pm

Detailing the Figures Adding a figure or two

Acrylic Painting Landscapes_int_11440.indd 19 23/6/16 4:29 pm

touch of yellow oxide

Acrylic Painting Landscapes_int_11440.indd 20 23/6/16 4:29 pm

Acrylic Painting Landscapes_int_11440.indd 21 23/6/16 4:29 pm

Use titanium white and a

Acrylic Painting Landscapes_int_11440.indd 22 23/6/16 4:29 pm

Acrylic Painting Landscapes_int_11440.indd 23 23/6/16 4:29 pm

Using chalk, draw over the tops of the background trees to

Acrylic Painting Landscapes_int_11440.indd 24 23/6/16 4:29 pm

Acrylic Painting Landscapes_int_11440.indd 25 23/6/16 4:29 pm

Don’t be afraid to use artistic

bright aqua green