Copyright © 2019 by Leanne Ellis • All Rights reserved • E-Mail: firstname.lastname@example.org
When you have finished your painting remove the tape ensuring you pull it away from your painting to prevent tearing. This will give you a nice white boarder around your work.
Click on any of the images to see a larger picture. As you can see from this first one, I started off with a very simple outline drawing. Don't go into too much detail as it will be lost when the paint starts to go on.
Using the Background Wash brush, pre-wet the entire sky area. This brush hold an incredible amount of paint as it is squirrel hair and does the job of any large wash brush. Once the sky area is wet proceed to put in Yellow Ochre at the base of the sky, light red above the yellow and blend down, then use French Ultramarine to fill in the top. Stroke through the other colours to the horizon line. Rinse out your brush, squeeze out the water and place the brush on the paper where you want your cloud to be. The brush will suck the paint out to give you the cloud effects.
Once the sky is dry it's time to put in the distant hills. Pre-wet the area using the background wash brush and drop in Yellow Ochre to the right of the hills. Mix a little Light Red with French Ultramarine to tone the blue down and drop this in whilst the hills are still wet. Allow the paint to merge and the painting to dry. Once dry, use the Foliage Stippler on its side to put in the distant trees and hedge rows on the hills. Use the same colour as the hills for this. The trees around the house are done using the same brush but Yellow Ochre to the right of each tree, Hookers Green mixed with Yellow Ochre for the main colour and French Ultramarine to the darker side of the trees. Stipple together whilst still wet.
Continue with the other trees with the same brush and mix until you reach the fir tree. This one is done using the Tree Fan brush and a mixture of Hookers Green, Burnt Sienna and a touch of French Ultramarine. Use the corner of the brush at the tip of the tree and tap. As you come further down the tree lay more of the brush on the paper to get a wider base.
The buildings were done using the Large Detail brush. Even though this is called a large detail, it has an incredibly fine tip which allows very small details. The building on the right is filled in with Yellow Ochre toned down with a touch of Raw Umber. Both building roofs are done using Light Red. Shadows on the white building will need to be blue but I added a tiny touch of Rose Madder to the French Ultramarine to take the brightness off the blue. Shadows are all placed to the left on each part of the building and under the roof to sit it down on the building. Windows are done with a mix of French Ultramarine and Burnt Sienna to make black.
The bushes in front of the house are done using the Foliage Stippler, first with plenty of wet paint in it, using Yellow Ochre to the right, Hookers Green with Burnt Sienna mixed for the main colour and French Ultramarine for the darker areas. Stipple this together. Do each bush separately to ensure they stay separate.
when the bushes have mostly dried but are still slightly damp, fill your Foliage Stippler with very dry Rose Madder. This paint should be straight from the tube with no water. If using pans, stipple the pan whilst the pan is very slightly damp. Make sure your brush has split and tap on the bush next to the house while that bush is still damp to add the fruit.
The foreground is done using the Background Wash brush. Firstly do the water. This is a mix of French Ultramarine with a tiny touch of Hookers Green. Stroke sideways to create the water streaks. Do not pre-wet this area. Once the water is dry, fill the rest with Yellow Ochre but have your green mixed ready for the next stage as this goes in while the yellow is still wet.
While the yellow background is still wet, apply a mix of Hookers Green and Burnt Sienna using the Grass comber ensuring you flick up to give the impression of distant grasses. Some of the flicks will vanish or merge in to the yellow. Only work while the painting is wet to give a softer look. Once dry, flick up using the same brush and paint mix around the pond. Flicking down will also give the impression of water reflection.
To add finishing touches, use the Sword Liner to create long grasses in the foreground. The Sword Liner holds an incredible amount of paint compared to a rigger brush so you can paint for longer before having to reload your brush.