How to PAINT a rural valley scene in OILS - TREES and DEPTH!

in this short video we're going to be painting this rural scene which is actually one of my favorite valleys here in the town of lawrence in the south island of new zealand roll that intro [Music] hi there and welcome back to the studio my name is andrew and it is an absolute pleasure to have your company once again now in this video i'm going to be painting this pastoral scene which is actually one of my favorite valleys here in lawrence in the south island of new zealand now i've lived in lawrence for about three years and in that time i've started to take note of some of my favorite scenes around the place and kind of bookmarked or earmarked certain locations to go back and do a studio painting and this is one of my favorite scenes so i thought i actually want to do this quite big so why don't i start with a smaller study and often i'll work out compositions on a smaller panel first before painting it at a large scale now i actually started the initial stages of this painting on my patreon page during a live stream where i blocked in this scene from my patrons there so let's jump over to patreon now and i'll show you a little bit of this process so during my live streams on patreon i'm answering people's questions as i paint and work on projects that are currents in the studio so what you can't hear here is the q a that's going on in the background this is just an assimilation of some clips that were from the block-in part of the process so we decided to go ahead and add some of those shots here this painting measures 11 inches by 14 inches i use some proportional dividers to get the golden ratio if you're unsure about this mathematical proportion then click that link in the description down below and find my video all about the golden mean this helps me find the right location to place major focal points and create a harmonious sense of asymmetrical balance i give the panel an initial tonal wash this is just burnt umber and a mixture of liquid and a pure gum turpentine i rub this back and allow it to completely dry before sketching in the lines that you see here and these lines by the way are a combination of burnt umber and quinacridone magenta with just a hint of liquin original medium this color is going to mix really nicely into the first block in colors we're going to apply we're going to start with the sky first a mixture of ultramarine blue quinacridone magenta and creme nuts white mixed with titanium white at 5050 begin to block in these clouds now we're going to layer the paint here so the block end is not going to be so detailed the aim here is to cover ground as quickly as possible and to get a complete even coat of paint all the way across keeping texture to a minimum once this layer is dry i'm going to come back over the top with some modeling and some details now if you've seen my videos before you know i like to work with whatever's furthest away and bring those tiers of depth forward towards the viewer this allows me to keep better control over my color combinations the next tier of depth and line are these distant hills i start off with a grayed out violet color given by quinacridone magenta and ultramarine blue mixed with that white i balance out the magenta with touches of cobalt teal i try to keep the yellow and the greenness down to a minimum in those distant hills that allows me to push them way back into the distance and create a point of difference between those hills and what we're going to paint in the immediate foreground this composition is going to have a wide variety of trees we've got some poplars some pines some willows here in the foreground and each of these trees has got a slightly different technique and application of paint to communicate a different texture what i'm going to do first though is establish the shape within the composition and some general indications about the light side and the dark side when i'm blocking into painting i'm identifying my major zones and then filling in those zones with color bringing those zones edge to edge sometimes the burnt umber tonal base will show through between the gaps and the brush marks but this just adds warmth to the painting overall [Music] these bristle daggers are perfect for painting pine trees they allow me to create some very sharp lines but also create just a little bit of texture [Music] now i've finished my blocking but before we get stuck into this painting properly and finish it off let me tell you about my patreon page because i share it with my patrons there a live stream every single week so as you can see big red right it's huge it's a monster ah great question i actually have some front lit waves coming slightly behind us ever so slightly so it's like lighting this horse but you see the weight shining down across the face down the neck little wee little love heart there up in the snow line that's kind of cool but uh i'm just adding them kind of randomly in a similar pattern you see how good is that painting isn't that cool it's very impressive very very cool love it love these live streams there's a bit of everything now if that sounds like something you'd be interested in then make sure you check it out click the link in the description down below i hope to see you there now let's carry on with this painting i try to create a surface that is rich with color and has some real depth to it so layering does help the medium is completely dry by the next sitting and allows me to carry on with the painting working again with whatever's furthest away bringing those tears of depth forward i start to layer over the top of that block and layer with a fresh layer of paint here the modeling section but here i'm using a synthetic brush so this is going along the top of all the ridge marks all of those high points in the paint and leaving just a touch of the underlying color in the troughs between those ridge lines left by the bristle brush from the previous layer it might be a slow and tedious process but it really does add a lot of interest and texture to that painting and actually helps it look more realistic from far away now we're going to add even more texture to these layers as we bring the painting forward and start working in the paddock in the immediate foreground right now though with these distant rolling hills again i'm trying to keep that use of yellow to a minimum to push those hills way back into the distance while the paint's setting up a little bit of a tacky surface i can add more to this layer and brush in a bit of gray violet push those hills back even further now as you know i'm always going on about saving my tonal best for last so much so i might as well put it on a t-shirt but here what i'm doing is i'm adjusting my tone saving those brightest tones for the later stages in the process every time i do a block and i'm holding back with my tone and this allows me to gradually approach that edge and create more and more of a sense of stronger light the more the painting progresses and as i reach that final result [Music] and we're trying to create a delicate balance of greens naples yellow is a really handy color here it is right here on my palette right next to the transparent yellow oxide i'll use this over cadmium lemon for these mid ground hills and even those distant hills but again just knocking that yellow back ever so slightly with varying amounts of quinacridone magenta notice here how the yellow in those mid ground hills starts getting stronger and stronger as it approaches if you're in the foreground but here in the immediate foreground even the shadows will start to display a bit more green bringing them well forward of that more subdued violet color this diffused base provides a really nice backdrop to then bring these darker shapes of these pines over the top i work the edge of this tree carefully with a number two classic filbert i can work the edge of this tree while that background sky is still wet the only thing i'm gonna have to do is go back and continually reload that brush so i'm not picking up too much of the background color for some finer marks like these lombardi poplars just catching that afternoon sun i use an ivory dagger this brush is great for controlled and precise marks laying down a little bit of paint at a time and this ivory rigger is really good for applying these tiny little highlights to the front of the pine tree i'm often exaggerating the colors that i see in my photographic reference i haven't really seen any basis for this intense violet that's coming from behind that pine tree but i sure do like it it's really zinging off some of those warmer yellows incidentally i'm always looking for an opportunity to play complementary opposites off against one another this really does create a more dynamic composition i'm thinking about relationships such as that yellow violet or that red green or blue orange these intense relationships where we have one saturated color against its opposite really does help create a sense of energy within our paintings you can see here that the painting's really starting to come into focus in a very similar way to the way we'd look at a landscape through a lens in the block in it's kind of blurry looking that focus ring has not been pulled so everything's so sharp but as the painting progresses we pull that focus ring so it gets sharper and sharper and sharper everything starts to look really resolved as i approach that detail stage i'm beginning to solidify the exact location of every single element within the composition and really hone in on those color relationships to make trees like these willows here in the foreground really stand out and seem special within the composition textured paint comes further forward because it catches more light and reflects that back to the viewer i'm using liquin impasto medium to build body into this paint but again i'm not using any more than 25 percent or one part medium to three parts paint a little bit of this liquid impasto goes a long way i've tried to create a natural looking texture using an old trimmed tisch dagger brush and i'm dragging this through the oil paint in the direction that the grass is growing or these reeds are growing here in the foreground again this is catching that light reflecting more of it back to the viewer and really allowing that foreground to pop when used in conjunction with strong saturated color this really can drive our depth dynamic and open up the scene by bringing everything in the foreground closer towards the viewer by contrast we're pushing everything in the background that much further away now often i'll have several works in progress in the studio at any given time this painting was up in the studio for a while and i realized that these two willow trees were a little bit too similar in terms of shape and size and i thought it might look more interesting if i made them different from one another so here what i'm going to do first is apply some of that nice warm yellow and begin to branch out just a touch adding some of these highlights to the branches within the internal structure of the tree and conversely add some darker branches as well this also helps the trees feel a little more three-dimensional a little bit goes a long way i'm using an ivory dagger and an ivory pointed round the size of this brush is double zero in order to get these branches to look sharp i have to go back and continually reload my brush to maintain the precise tiny little marks that will really hold up this massive leaves catching that afternoon sunlight it also helps to have a variety in the greys it's not just white and black there's all kinds of shades here now what would a new zealand pastoral scene be without sheep i go for a loose arrangement of sheep here in the immediate foreground i have some reference to support this but it also does help having a file of reference available on the computer so i can dip into that from time to time if a landscape needs an animal of some sort here i have just a little bit of a shadow color and just the highlight of those sheep catch in the sunlight i try to go for a variety of shapes and sizes here i go back and adjust this tree with some sharper highlight and add a little more to the top of those leaves the blade edge of a dagger bristle brush is great for creating some of that texture as we build up these layers and it helps our trees look more and more realistic as we apply more paint [Music] now the barn has been loosely painted in through the block in and a little bit of modelling but now it needs a few highlights to just sharpen up the edges of this weathered tin i decided to add a stream here in the mid ground that leads the eye towards the barn in the bottom of the valley once i've created some texture within the painting i then go about applying some really fine minut details like these leaves here on these trees in the immediate foreground now i don't need to detail all the way across the painting surface but if i apply strategically little precise bits of detail just here and there the gaps in the information that i provide will be filled in in the viewer's brain it will give the illusion that the entire surface is detailed when only i've really done just a little bit here and there but hey that's just me i'm always cutting corners i apply fine highlights here in the foreground grass using an ivory rigger and using more and more cadmium yellow this brings it all the way forward right to the viewer's feet in the immediate foreground but i also think about the negative space of where the blades of grass aren't and paint between these highlight marks because i've been holding back with my tone throughout the process and saving that tonal best for the very end it allows these highlight marks on the fronts of these clouds to register this is pretty much pure titanium white with just a touch of naples yellow to give a bit of warmth all in all i'm pretty happy with this little study i think it's a good foundation to build a bigger painting [Music] well i really hope you've enjoyed this video and you've come away with a few new techniques now if you want to spend even more time with me here in the studio make sure you follow me on patreon i have a live stream every week where i go live for about two hours where you get to interact with me ask questions and i share with you some of the current projects that i'm working on here so if that sounds like something you're interested in then again click that link in the description down below but if you enjoyed this video and you liked what we discussed here today then click that like button leave me a comment down below and if you want to come back for more and see even more painting tutorials make sure you subscribe to this channel click that notification icon so you're notified when i drop another video as always you can find me on instagram and facebook but most important make sure you follow me on my website at andrew tischler.com and subscribe while you're there i'm in touch with my subscribers regularly it's been an absolute blast hanging out with you here once again and i look forward to painting with you again soon so long

Channel: Andrew Tischler

Views: 58,138

Rating: 4.9786749 out of 5

Keywords: oil painting tutorial, full painting tutorial, oil painting demonstration, painting demo, oil painting, painting tutorial, landscape painting, how to paint a landscape, painting techniques, colour theory, oil painting mediums, how to glaze an oil painting, oil glazing, glazing painting, detail techniques, how to paint light, how to create texture, lighting, Andrew Tischler, artist, painting artist, New Zealand, nz art, Lawrence, How to paint trees, how to paint grass

Id: z8VFBepCXCo

Length: 15min 35sec (935 seconds)

Published: Mon Apr 19 2021