How To Paint A Beautiful Morning Landscape In Oil | Mandar Marathe | Skillshare

How To Paint A Beautiful Morning Landscape In Oil

Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

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7 Lessons (42m)
    • 1. Introduction

      1:05
    • 2. Value Sketch

      3:01
    • 3. 9 Points to consider

      9:19
    • 4. Drawing with color

      6:50
    • 5. Painting the foliage

      7:34
    • 6. Foreground grass

      8:32
    • 7. Highlights and Finishing touches

      5:39

About This Class

Morning Walks are not only good for health, but they also give me inspiration for many of my paintings.

In this class I use a photo I clicked while on a morning walk with my son and make a painting based on it. I explain you the following 9 points that I considered while planning this painting. I also show and tell you how I did a value study and later painted the final painting using oil colors.

- Why & What
- Format
- Division of Space
- Composition
- Center of Interest
- Depth
- Value Relationships
- Color Harmony
- Brushwork

I welcome you to join me on the jouney of making this painting and learn few points from my painting process. The techniques I use in this painting can be used eve if you use watercolors, gouaches, acrylics, pastels or colored pancils.

No prior painting experience is necessary to gain from this class.

See you inside the class!

Transcripts

1. Introduction: welcome to the class. Morning vaults are not only good for health, but they also give me inspiration for many off my paintings. This is a photo. I clicked when me and my five year old son went for a walk on a December morning. After we got back, I did a value study based on it and later painted this painting in this class. I talked to you about why I chose this topic. And what do I want? This painting pro depict the format. I chose the division of Space. I did the compositional elements that went into it. The center off interest which I want the spending tohave, the way I created ripped the value relationships that various shapes in this painting have the color harmony, a chose and the type of brushwork I want this painting toe Have I also show you how I did the value sketching and the final painting with oil colors. There is a lot which happens before applying paint to the canvas. I invite you to join me on the journey and get inspired to paint your next masterpiece. See you inside the class 2. Value Sketch: Let's start with the first stage off. Any painting have selected a square canvas on here is a source photo and now I'm goingto do ah value sketch based on the source. I'm doing the sketch in Art Ridge app on iPad. But this can be done with a pencil on the paper or some black ink or color on paper, too. The goal of the state is to understand the value relationships among the shapes in this scene. This is also the time to get the composition right. I'm started with the big tree on the right. This is the darker shape that will be there in the painting. Now comes the boundary wall and the three on the left and the shadow of the tree. Now this is the second darkest our next gree shape off the bushes in the background. You can see that I'm not being very careful in the painting. I just want to establish the value relationships nicely. As I'm going upwards, I'm reducing the darkness off the color are making the greys lighter and lighter. Now this is the foliage off the tree and now comes the sky in the background. Similar shade will be there in the foreground, where the light is hitting the grass and creating the highlights. I want to make the right inside darker swears to keep the attention on the focal area, and this is one more small bush with him on to introduce. I want to re establish the we drunk, make the sky lighter and give some highlight to the boundary wall and draw few thorn trees just beyond the boundary wall. And then I'm adding highlights toe the tree trunk and few adjustments here and there, and I am done with the value sketch. 3. 9 Points to consider: welcome to this lecture. In this lecture, I'm going to talk about points which I consider when I start a new building. So what we're looking at is this is the source off the painting and this is the deadliest catch. And there are some decisions which I have already taken while making this value sketch. This by no means and exhaustive list. There are some things which I consider instinctively without even knowing that I'm considering that. But this list will give you an idea off what goes through my mind. It is also true that I don't consider all of them every time that I make a painting, some of them are considered some off them are ignored because off the kind of painting which I'm doing, but I try to consider most of them. And that gives me a confidence that the painting, which I'm going to make is going to be better than what I would have got without considering these points or without doing this planning beforehand. So let's start one by one. The first thing which I consider is why am I painting this painting on? What is it that I want to say? by doing this painting. So as far as this painting is concerned off based on the source, I can see that the sunlight is, uh the thing which prompted me toe considered painting this The other thing which comes to my mind when I look at the scene, is the freshness off the air or freshness on the day. The second point I want to consider is the former and while making the value study, I've already meet that choice rather or already decided more than for my time would be used . I have decided to use a square canvas. I could have gone for a more horizontal one or a vertical former. But then I think the square canvas is doing the job off conveying the message which I want toe can be. And so I'm happy with it. The third point I've considered is the division off space. You will notice that this foreground in this photograph is it has it is a very small idea. Varies in this value sketch. I have increased this foreground and the reason for that is that I wanted to show this shadow very prominently. It helps me tell the story off the morning sun then the remaining part is what I'm going to use to show the things in the middle ground and then the background, the system ready ground. And this is the background on this is the photo girl. So that that gives me the division off space than him. Start painting this painting. The next point is, ah, composition in this case and what other lines which lead to the center of interest. The fifth point is going to be the center of interest. And I'm going toe talk to you about that in the point number four itself. Because these two things go hand in hand. I want this to be the center of interest. Though it has no contrast right now in the value skates I'm going to in increase the contrast here the composition little lines which are helping me bring the viewers attention to the center of interest of this shadow This line off the off the wall, then this stream and then this street, the six point Digimon to consider Is there depth? How do I want to suggest depth in this painting? This particularly being landscape I want the person or the B word. Feel the foreground, middle ground and background. And that's the reason I'm going toe use colors in the four ramble down background in a way that will suggest that something is far off, that these trees are far off. Then this grass. And that's why I'm going to use colors which are much more much more bluer and much more lighter as they go towards the background. So you will see that even though the grass here will have will have color, which is green, this will be dark green. This will be much more bluish green, and this will be much more lighter blue with not off white And the seven point which I want to consider is, ah, the value relationships for the sake off clarity. Let me wipe this markings and then we'll continue our discussion. Since this is a brightly scene, if you divide the values in seven steps, this is the darkest done. Then this will be slightly darker, less darker. This is gonna be completely black. This is this is going to be even later and so on so forth. And this will be complete white. So if you divide this improve India steps. Since this scene is a bright, sunlit scene, it is going to have the whole range off value relationships. For example, this this is going to be the darkest media as this scene sourcing also has this dark area off the tree and this brightest bright color on the white color, he's going to be present in the background where the sky is. So the scene is going to have widest possible value dreams. So we'll have darkest darks also, and we'll have like a slight cancer. Some scenes, which have great lighting or are which are dimly lit, will have a value range, which is much more narrower than what we have here. So this is the value range which will be there. If the scene is Gracin, it's a tug. The light is not very strong, and so the shadows are also not very dark on. This is the value rainy, which that kind off a scene, will have. The next point, which I want to consider, is the color harmony. Is this painting going to be primarily of warm painting or a cool paintings? And from the scene it's obvious that it's going toe have blue greens, and it's going to be Ah Hoon seemed to look at, and it will have predominantly blue and green colors. The nine point will be the brushwork. What kind of breast will do I want to use for this painting? I like my paintings to have are very rough, kind off for feed, and I that's that's much more painterly than photographic. And that's the reason I'm going to use of brushstrokes like these, which are not mixed into the background. And I want the breast stroke. I want to leave those breast strokes as they are when I apply them as far as possible. And that completes on the points that I want to consider before I paint this painting. The list might be shorter or longer when I paint another one, but as far as this painting is concerned, I'm happy that I made all these decisions before applying paint to the canvas. Andi, I'm feeling much more confident that this is going to be a good work apart. See you in the next lecture 4. Drawing with color: I was square canvas attached toe MDF board on. I'm using burnt sienna 10 with some Lindsay royal to start drawing the big shapes on this canvas. As I've already made the value study and considered various points, Drawing this on the canvas with a brush is much more easier. So I've drawn the wall and I'm now drawing the big tree on the right or the bush on the right hand side. I want a feeling in the area where it's going to be our dark color that no, I start painting the tree trunk. I'm holding the brush towards the end of the handle on. That's making my press strokes much more loser are much more natural and less restrictive. Anyway, this is going to be the first layer of the paint on this Get going to be a word with the final pain. So I'm not worried too much about the kind of breast strokes that I'm making. I'm shooting the boundary one and now indicating the shadow of the three. I also wonder indicate where the grass is going to be in the shadow in the bottom right corner. Coming to the full egx are the bushes in the background are the middle ground brother and no, the for leisure of the main victory and one of the tall trees just beyond. Ah, boundary wall. No, I'm coming with our dark color, which is going to be their darkest dark in this painting, and I made this color with ultimate in blue and burnt sienna. This mall is also going to be darkest in the top part, and the bottom part of the wall will have some reflected light from the grass. And now I'm laying in the dark's off the three on the bush on the right hand side I can hear. I'm making sure that I don't Ah, hold the brush school close to the prisons. I like to hold it and the foreign, and that's a common mistake. Which beginners do They try to hold the brush like a pen or a pencil. The same color goes on to the dunk. I'm darkening the top part of the ball. Welcome the branches of the tree in oil painting you always start with, or at least most of the times you start with their darks because it's an opiate medium on. You can get your whites with white color. But if your darks get muddied, or if that if some lighter color gets into your dark color, you cannot pretty much just or get the darkness back. And that's the reason you start with the darkest darks. And then, as you progress, go on adding lighter and lighter shades of colors. Here comes the shadow off the tree on the dark. Idea off the grass on the right bottom corner. I'm done with heading these darks on in the next lecture. I'll continue with lighter shades off other colors. See you in the next lecture. 5. Painting the foliage: Now I'm going to paint the foliage on. I'm starting with the Doug Bluegreen for the Foley's That's in the shade. I made this color with cobalt blue and chrome yellow in some way. I added some more yellow and some more white to the color, as I'm using this color for the ideas of the bushes that are towards the source. Off light are from where the light is coming in. You can see that I am not trying toe much strokes off color. I'm leaving them as they are least as far as possible. It's a tough thing. Toe. Leave your brush strokes as they are. Andi I many a time find myself doing what is not desirable. It is tryingto and just every brush stroke, which is already laid on the canvas. That weird Zaveri flat Look, now I have. I didn't even more white. The color I'm tryingto paint around the dark Mascis off the bush is on the road inside. Now I'm added even more white and a little more blue toe the color on, and this is going to be the second lightest value in the bending, adding some weight to the idea where I want to show the sunlight peeking in using similar colors on the left hand side behind the tree. No, I won't put ad color to the foliage off the victory. So I mixed green color Khobar blue, chrome yellow and some lemon yellow, and I'm going to lane the shape off the foliage. I'm adding some burnt sienna. Also in between is to create some radiation in the color. I like to add different colors to the main color when I'm applying the paint on the canvas . That creates variation in the shades on that color and adds interest and prevents the shape from looking very flat. Though I'm using a photograph as a reference because I have done badly study and considered the composition carefully, I'm not trying to copy the foliage exactly as seen in the photograph. I'm blinked with just the shape off the sky and the color of the sky, and it and I'm coming with some lighter blue and trying to repaint the sky, some pure white coming in. And though I'm I've used white directly when I applied to the wet paint on the canvas, it doesn't remain as why does just out on the doom some chrome yellow coming in where the sunlight is hitting No, Bush is the edge of the bush on the right. Inside also glows because of the light coming in from the background. I'm going to read It is the small Bush. This is going to be the focal lady of the bending and hence I'm giving more attention to it . See you in the next lecture. 6. Foreground grass: Welcome back. I'm now mixed a green color with Khobar blue, chrome yellow and I'm using it toe paint the grass in the foreground. I'm also mixing in some burn cnr. When I'm applying the color, it works the bottom off the painting to create the gradation from light to dark towards the corner. I've increased the darkness of the color with more blue in it, that now painting the grass on the left hand side and then coming in with lighter green. I'm going to leave these breast strokes pretty much as they are. These are the highlight caused by sunlight falling on the blades of grass. I'm wondered our condo shadow area on dso reapplying that darker. And now I want to introduce the grass in the area where the shadow is in there. I'm using the edge of the brush to create the effect of grass. I want to darken the one side off the tree trunk and I'll be coming in with Tyler. It's for that idea, literal. I'm using the same dark color toe darken the top part off the wall. Okay, Andi, No, I I'm getting in tow, applying the smaller details off the leaves off the tree on the right inside here. As the painting comes toward completion, the number of verse talks with you apply. Go down and you have tow. Reduce the speed and apply the strokes much more carefully. Now in painting. Ah, highlight color the site off the tree trunk, which is getting licked by the suddenly I know some dark color but a smaller breasts on the shadow off the tree trunk. The grass, which is there in the shadow, will form these shapes against the light areas. And so the shadow will long be Ah, or the edge will not be a straight line. It will be a jagged. It will be jacking very wherever the blades of grass are coming against the lighter background of the green grass. Now I want to use the same color toe, indicate few tall trees just beyond the boundary wall. Now in the lane, color is still and very tick, and that's the reason I'm getting these kind of strokes. Well, let's just But I just want an indication off something being there. I, by mistake, removed the color from the can was, so I'm coming in with more color on the breath. I'm getting a feeling that these small trees are looking toe symmetric around the big tree . Andi, I might have do and remove them. Are we have to do something with that will break that. Similarly, when you apply dark color on the light color and when the light color is still bet you can apply it only once. On def. You try to apply the same brush again, the lighter calories on your brush, and it will spoil the place where you apply the order to the breast next time. So every time you have to pick fresh dark color applied once again, white the brush and then start over again. I'm reapplying the dark color. Still, the positioning itself is bothering me. But then let me try to some extent, if I can make it work in getting some foliage off on the small trees. Wando, Dean state the branches off the main tree within our color. I'm applying that dark color again. I'm using the same dark color to make adjustments in the dog shapes. Whenever I see that something needs improvement and now I'm coming in with light of green color on and I'm strangled. Instead, the or restate the sky holds in beginning some leaves me job lit by the sun. But the backdrop is off the doctor. That's the reason I'm applying lighter blue color on the idea, which is dark Bill that see you in the next lecture. 7. Highlights and Finishing touches: No. I'm using my palette knife and some texture and may not be very pronounced, but a palette knife is, ah, great tool to create some sharp dictates. I feel the grass needs much more light, so I'm coming in with lighter green. I want O darkened small bush because that's completely against the light on that will also enhance the color of the grass on. Now I'm coming in with more white in the sky on I want to leave it as it is right now. I'm not happy with how the white color is not able to produce the lightness which m mature require. And so I am removing some color from there and now coming in with white color because the underlying wet paint is being removed. The color which I apply now when sit properly and will not change too much and no some specs off foliage. Finally, I've decided to remove at least one off the tall trees on and get rid off the uneasy symmetry. Whatever color I apply now is going to be very precise. Andi in smaller quantities because at least 80 90% of the painting is already done on what I'm doing now is just and just ing very what I think some changes required. So I'm thinking a lot and then applying groundstrokes only when I think that it's a must. It's very rare that a painting happens in a straight line in the sense that you, Brendan media or the shape and then you never have to come back to it named Hussein. And there is always something or the other which remains to be and distant are which I won't do improved after the bendy has been saying, I need that corner toe, have slightly lighter color and I was having trouble with it. I'm still not completely happy with the way they're drunk looks. So I'm thinking off applying a few more highlights. And so I've mixed. Ah, light brown are yellow curry sculler Andi, I'm applying that to create some highlights on the tree trunk. You on this sprint, there'll be some directs and lighting. There'll be some highlights on these small tree trunks also, but I'm going. I'm not going toe first. Too much over that and the wall also needs highlight. The top service off the wall is being directly lit by the sunlight on. That's what I'm indicating now. And this is the area off the wall which is going toe Get some reflected light from the grass. Andi, I think I'm going to stop now on hope you have enjoyed this spending journey on Learned few things, looking at the way I approached this painting on. But I'm sure that will inspire you to paint your next masterpiece. See you in the next class.