![]() More brightly lit spring foliage is suggested with quick flicks of the tip of a No. The larger foreground tree on the left was placed using a darker brown than on the distant trees, mixed from Burnt Sienna and French Ultramarine. The fan brush was also used in an upwards-flicking motion to bring out tufts of grass along the left and right hand banks The distant trees were suggested with thin lines of varying shades of brown using a rigger, after which I used a large fan brush with a mixture of Lemon Yellow and white to suggest foliage. This is basically a watercolour brush but because it is so soft, it is perfect for blending and blurring the previously blocked-in shapes. To achieve this I brushed rapidly with a very light touch over the whole of the background with a soft, squirrel hair filbert brush. ![]() I now wanted to soften all these loose shapes representing light and foliage, creating a looser, less-clearly-defined look. Lastly, I added some of the dark brown (Burnt Sienna and French Ultramarine) to the base of the wall and sides of the path. This time I added a dark green made from Viridian, French Ultramarine and Burnt Sienna to increase the contrast and sharpen up the definition of the shadow area behind and in front of the wall and the left-hand foreground. Next, I used a half-inch filbert to continue blocking in. These were followed by a dark brown made from Burnt Sienna and French Ultramarine for the edge of the path, a touch of Raw Sienna to add some warmth to the bottom left-hand corner, and highlights in White. Other colours were Raw Sienna with a touch of Magenta for the path and wall, and Cadmium Red on the wall for a hint of warmth. Lemon Yellow is perfect for that bright, fresh shade so abundant in spring. I used French Ultramarine and Magenta for the glimpse of sky Lemon Yellow a brighter yellow made by adding White to Lemon Yellow a bright green mixed from Lemon Yellow and French Ultramarine and a darker green made from Lemon Yellow, French Ultramarine and Burnt Sienna. I blocked in the main shapes with a one-inch flat brush. However, the perspective and position of the path is very important, and I made sure I had this correct before proceeding. I was careful not to draw too much detail, leaving out some of the trees and not attempting to draw foliage, as I much prefer to put all these details in with paint. I had previously prepared a sheet of hardboard by priming it with three coats of acrylic primer before drawing in the basic composition with a 2B pencil. I combined the alkyd paint with Liquin medium in areas where I required a thinner application. I used Winsor & Newton Griffin Alkyd paint, which seems to handle just like traditional oil but is much quicker drying and enables me to glaze much more easily without disturbing the previously applied colour. ![]() The scene above represents a fairly simple subject but evokes just the sort of conditions I would like to capture in an oil painting. I really enjoy a woodland walk on a bright day when the sun filters through the foliage, illuminating the fresh new grass and casting warm shadows across the ground. I enjoy the immediacy and relative freedom of the medium compared to the more disciplined approach I employ with watercolour. Link copied to clipboard Painting woodland scenes using oil paints with a step-by-step guide from Geoff KerseyĪs I spend a lot of my time teaching and demonstrating watercolour painting, I find it relaxing to paint from time to time in oil.
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