Vdoc - Pub - Acrylic Seasons Learn To Paint The Colors of The Seasons Step by Step

seasons
As sunlight changes throughout the year, so does the way we see color in nature, and with
acrylics, you can create compelling paintings that celebrate each season at its colorful
best. With each project in this book, you’ll learn the methods and techniques that make
painting seasons a joyful experience. —David Lloyd Glover
contents
Tools & Materials .....................................2 Capturing Natural Texture .....................18
Color Basics ............................................4 Framing Focal Points ............................24
Light & Shadow .......................................6 Distance & Dimension ...........................30
Rendering Reflections ...........................12 Chromatic Impact .................................36
HT344.Interior.indd 1 17/11/16 9:08 am

HT344.Interior.indd 1 (TexT) Job: 11856 Title: HT344 - ACRYLIC PAINTING SEASONS 9781633222069 17/11/16 9:07 am
JZH 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 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
2 | ACRYLIC

JZH 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.
SEASONS | 3

JZH 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 make orange, blue and red make violet, and yellow and blue
make 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.
4 | ACRYLIC

JZH 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.
SEASONS | 5

JZH Page: 5
PROJECT ONE
Light &
Winter scenes always evoke great nostalgia and give people
a warm feeling. A simple palette highlights the weathered
shadow
maple sugar barn in the New England countryside.
TIP
Know your light sourc
Even though you may e.
painting the sun, light not be
th
from a consistent dir e scene
ection.
Prepare the canvas with a heavy wash of crimson red, and use a
flat-bristle brush with thinned dioxazine purple to sketch the barn, The shadows establish that the light source
trees, and long winter shadows. comes from the right side of the painting.
6 | ACRYLIC

JZH Page: 6
BAR N SNOW The shadow areas on the snow are roughed in
using a blend of dioxazine purple with a touch of
ultramarine blue and titanium white. No need for
cadmium yellow dark titanium white neatness yet. At this point, you are establishing the
+ + light and dark values in the painting.
quinacridone magenta dioxazine purple
= = With a fan brush, stroke in some
purple areas, which will be the
trees in the distance.
Using a large ¾" brush, block in the basic color areas. Brush Indicate where the snow blankets the ground
over the wood structure of the barn using a mix of cadmium
yellow dark and quinacridone magenta. Add more cadmium and covers the roof with a fan brush.
yellow dark to paint the firewood under the building.
SEASONS | 7

JZH Page: 7
PROJECT ONE | Light & shadow To visually confirm that your
architectural elements are in
TIP
the right perspective, simply turn
your painting upside down for a
minute, and step back. If any
angles are incorrect, this trick will
reveal what you might need
to adjust.
The foreground snow will be jumbled Indicate the unseen SHAD OWS IN SNOW
with lots of foot tracks, so there foreground tree shadows
are short broken strokes of blue running along the snow and ultramarine blue
suggesting the contours. up the sides of the barn. +
white
Block in cool colors suggesting the trees in the distance. With loose brushstrokes, =
apply the paint using a ¾" short-handled brush. With dioxazine purple on a small flat
brush, place the sapling tree trunks just beyond the barn.
8 | ACRYLIC

JZH Page: 8
Soft edges give the clouds
an airy appearance.
When your brushstrokes

mimic the direction of the
clapboards, the painting
takes on the look of
realistic dimension.
Paint in the sky behind

the tree line (closest to the
horizon) using a ¾" brush
CLOUDS
TIP
loaded with a blend of titanium white
phthalo blue with mostly +
titanium white. For the sky
high above the horizon, add dioxazine purple Let the wide brush’s bristles
ultramarine blue to create + do the work in creating the
a richer blue. Deepen the
magenta
patterns of light filtering
color of the barn with more
layers of red tones.
through the trees.
=
SEASONS | 9

JZH Page: 9
PROJECT ONE | Light & shadow
To finish the painting, add more details, including snow covering tree
branches and ground, cloud highlights, and tree trunks.
A simple way to create the look of snow covering trees branches is

to use a #3 fan brush. Dab titanium white and a bit of ultramarine
blue together, and with the edge, lightly tap in the snow covering the
tree’s branches. Fill the upper branches of the big tree with a thick
layer of snow color.
Give the clouds shape

by painting in the soft
white areas that are
illuminated by the sun
with pure titanium
white.
Create the bright snow

highlights using pure
titanium white.
10 | A C R Y L I C

JZH Page: 10
TIP
When painting snow, don’t
worry about accuracy. The
fan brush will create a general
random look of snow cover.
SEASONS | 11

JZH Page: 11
PROJECT TWO
Rendering
Nothing says spring more than a garden bursting
with hanging wisteria, rhododendrons, and other
Reflections
colorful blossoms. A footbridge stretching over a
pond reminds me of Monet’s garden and makes
for an interesting, romantic focal point.
Prepare a stretched 20" x 20" canvas with a wash of primary red light. For sketching, use
thinned dioxazine purple to rough in the position of the curved walking bridge and other
elements. Outline the foliage in the foreground and the major trees in the background.
TIP
Thinned primary red over white
gesso gives your scene the
feeling of a spring day and When creating your initial
unifies the painting. painting, don’t focus on
accuracy. Rather, establish
the overall shape and layout of
the elements that create your
whole composition.
12 | A C R Y L I C

JZH Page: 12
TIP
Black is useful in some cases to
BACKGROUND
tone down a color, but it can
dioxazine purple deaden a landscape. Achieve the
deepest shadows using blends of
quinacridone magenta
dioxazine purple with ultramarine
ultramarine blue blue or cadmium red.
titanium white
Make brushstrokes
in the direction of
the tree branches
and bushes.
Block in the main shadow areas using four colors (titanium white brings forward true pigment colors).
Using a broad 1" brush and with quick brushstrokes, establish where the dark foliage appears. Brush in
tones of blues, purples, and magenta for the first layer.
SEASONS | 13

JZH Page: 13
BR IGH T GREE N
PROJECT TWO | RENDERING REFLECTIONS
phthalo blue
+
cadmium yellow
+
titanium white
=
Use dioxazine
purple for the
shadows under the
bridge and in
the water.
Now block in the greens

of the trees and foliage,
applying quick brushstrokes
of color following the
The water DEEPER GREE N BR ID GE
direction of the leaves reflects the blue
and tree branches. The sky. Rough in ultramarine blue quinacridone magenta
flowering rose bushes in some color using + +
the foreground, the wisteria
on the bridge, and the
phthalo blue cadmium yellow deep cadmium yellow deep
background trees begin and white. + +
to appear.
titanium white titanium white
= =
14 | A C R Y L I C

JZH Page: 14
N
With a small flat bristle
e
brush and dioxazine
purple, indicate the main
ellow tree trunks with some
quick brushstrokes.
hite
Dapple in the light of the sky

popping in through the trees.
TIP
Paint the pale sky with a touch
of phthalo blue mixed with Add more of the
titanium white. The clouds are sky color to the
titanium white blended with a water reflections.
touch of ultramarine blue. On
the bridge, add layers of color to
Continue
suggestive to make loose and
create texture using cadmium
red and dioxazine purple.
overall im brushstrokes. Th
p e
is more imression of the scen
portant t e
small deta h a n the
ils.
SEASONS | 15

JZH Page: 15
PROJECT TWO | rendering reflections
Using a fan brush, dab shadow and bright green to the

trees. The edge of the brush gives you a soft and varied
edge, lending an interesting texture.
SHAD OW COLOR
ultramarine blue
+
cadmium yellow deep

+
titanium white BR IGH T GREE N

=
phthalo blue
+
cadmium yellow
+
Brighten the white titanium white

flowers using a small =
flat brush loaded with
titanium white.
Add white blended with just a hint

of phthalo blue as bright sky tone.
Add intensity to the light cloud color
popping through the trees’ leaves.
16 | A C R Y L I C

JZH Page: 16
Create the look of the warm sunlight
illuminating the trees and flowers.
TIP
How do you know when it’s time to stop adding
to your painting? When the canvas is full of
Paint in all the flowers, including roses in the foreground,
color, drop your brush and revisit the painting
wisteria blossoms hanging over the bridge, and even the next day. You’ll be surprised how good it
petals floating in the pond. Highlight the bridge structure looks the way you left it.
using quinacridone magenta and titanium white. Add tree
branches with dioxazine purple.
SEASONS | 17

JZH Page: 17
PROJECT THREE
capturing
A walking path always leads the eye on a
visual journey through the scene. Pools
natural texture
of sunlight and a bit of shadow give the
sense of dimension that you need. The
many layers of elements naturally lend
distance to the image.
Prepare a stretched 16" x 20" rectangular

landscape canvas with a light wash of raw
sienna over the white gesso surface.
Large tree trunks

and trees recede into
the distance.
TIP
of the garden
When sketching the shapesst enough paint
along the pathway, use ju ’s light enough,
it
to see the outlines. When the garden’s
the sketch will blend into s. With a #5 flat bristle brush, sketch thinned dioxazine
colors in later step purple. Sketch the important clusters of the garden
plantings and the shape and direction of the pathway.
18 | A C R Y L I C

JZH Page: 18
With loose brushstrokes, block in the
DARK SHAD OWS
darkest shadow areas, establishing
Later on, some of this shadow where the light source illuminates the
color will pop and look like the setting. Paint in additional hues of
+
ultramarine blue
distance between the flower green and blue. Mimic the direction
the foliage grows.
stems, leaves, and background. dioxazine purple
=
DEEP GREE N BR IGH T GREE N BLUE SHAD OWS
ultramarine blue phthalo blue phthalo blue

+ + +
cadmium yellow dark cadmium yellow titanium white

= + =
titanium white
=
SEASONS | 19

JZH Page: 19
PROJECT THREE | capturing natural texture
Paint the tree trunk

(mixture of cadmium
red and titanium white)
and leaves (phthalo blue,
cadmium yellow, and a
touch of dioxazine purple).
With a fan brush, fill the scene with greenery in a variety

of color tones, and load on colors for the various beds Lighter greens define the
of flowers. Using the edge of the brush will create soft places where sunlight
edges, giving this piece a nice painterly look. enters the scene.
TIP
Don’t worry about painting every petal and
leaf. If you entertain the eye with lots
of color patterns, you will find that your
garden looks amazingly real.
20 | A C R Y L I C

JZH Page: 20
Build up the colors in the garden path using
a fan brush. The cool shadows are a blend L IL AC F LOW ER S
TIP
of dioxazine purple and ultramarine blue; the
sunlit patches are a blend of cadmium red quinacridone magenta
and titanium white. Lay in the bright +
lilac color using the edge
of a fan brush. titanium white
+
dioxazine purple
=
Show your work in progress to friends
and family for feedback. What you might
consider a mistake can end up being a
favorite among others.
SEASONS | 21

JZH Page: 21
PROJECT THREE | capturing natural texture
Lightly highlight the tips and sun-facing edge of the flowers

using the purple flower color mix with a lot more titanium
white added.
With a fan brush loaded with titanium

white, paint the clusters of daisies.
TIP
Less is more. Be sparing when filling
the painting with flowers. You’ll
achieve a natural feel even though the
garden is bursting with color.
22 | A C R Y L I C

JZH Page: 22
As you finish, paint in a warm sky with distant trees, suggested by softer, light colors. Add brighter warm yellow-greens in
the evergreen trees. In this final stage, add a highlight here and there and additional stalks and branches.
SEASONS | 23

JZH Page: 23
PROJECT FOUR
framing
With the focal point of the weathered boat in the
foreground, the flat plane of the water surface
focal points
creates a feeling of depth as your eye moves across
to the opposite shoreline and green trees on the
other side of the lake.
Prepare a stretched 24" x 18" canvas with a rich wash of cadmium red over the white gesso. With a
#5 flat bristle brush, roughly sketch key elements: the rowboat, the shoreline, and three tree levels.
Indicate the shapes of the long lake grass clumps in the foreground.
TIP
SK E TCH COLOR
thinned dioxazine purple

+
e t c h i n g, you
gh s k d
ultramarine blue For rou se a brush an
= can u t, charcoal,
pain encil.
or p
24 | A C R Y L I C

JZH Page: 24
TIP
A lot of the tree shadow color will be
covered by other layers of green later. Warmer co
The blue color that peeks through will closer in yo lors bring objects
give contrast and depth to the trees. colors natu ur composition. Coo
and cool co rally recede. Using w l
lors in the arm
creates vis s a m e p
ual depth. ainting
Block in the basic color areas using deep WAT ER BLOCK ING GREE N BLO CK ING
phthalo blue and dioxazine purple. Note the
brushstrokes are in the natural direction of phthalo blue phthalo blue
the grasses and trees.
+ +
titanium white cadmium yellow

= =
SEASONS | 25

JZH Page: 25
PROJECT FOUR | framing focal points
Use a short-handle
bristle brush and nice,
loose movements to
suggest the colors of
the boat.
With a 1" brush, start layering in colors of green to

give shape to the grasses and trees. Build layers
of colors—dark greens, blue greens—which
progressively become lighter as you add white
and cadmium yellow. With a #8 flat brush, stroke
in the planes of the lake surface with smooth left-
to-right strokes. Brighten up the sky nearest to the
horizon line.
BOAT
ultramarine blue
+
titanium white
+
Dab in the patches of
dioxazine purple light that pop through
= the trees. A mixture
of titanium white and
phthalo blue gives the
illusion of branches.
26 | A C R Y L I C

JZH Page: 26
Another layer of green tones
creates more defined foliage.
Layers of brighter
greens and yellow
added to this sunlit
area draw the eye
into the distance.
Add details to the rowboat. Rough in the strakes of

the boat with dioxazine purple. Highlight the brighter
green gunwales with a blend made of phthalo blue,
TIP
titanium white, and cadmium yellow.
Use a light
It can cove touch with a fan bru
canvas, and r a lot of territory o sh.
y n
too much ofou don’t want to paintyour
your base s
hadow colorover
s.
SEASONS | 27

JZH Page: 27
PROJECT FOUR | framing focal points
Add details to the water reflections

with a script liner brush.
Give the clouds a softer look by adding titanium white with a touch of cadmium red. Create lifelike foliage with a fan brush and a mixture of cadmium
WAT ER R IPPLE S
ultramarine blue
+
titanium white
+
dioxazine purple
=
Create the effect of the sun illuminating

the trees with a single downward stroke
of the brush.
T REE T RUNK S
ultramarine blue
+
cadmium yellow
+
yellow, titantium white, and phthalo blue.

titanium white
=
28 | A C R Y L I C

JZH Page: 28
Give the clouds a softer look by adding titanium white with a touch of cadmium red. Create lifelike foliage with a fan brush and a mixture of cadmium
yellow, titantium white, and phthalo blue.
HT344.Interior.indd 29
Try adding a human touch, such as a
beaten pathway, watering can, fence, or
gate. It will lend scale to your composition
and make the painting more inviting.
(TexT)
JZH Page: 29
Job: 11856 Title: HT344 - ACRYLIC PAINTING SEASONS 9781633222069
SEASONS |
29
17/11/16 9:07 am
17/11/16 9:11 am
PROJECT FIVE
distance &
The wide-open scenery of the high valleys and meadows
with a curtain backdrop of mountains lend a sense of great
dimension
dimension and space. In this scene, you can see many
different levels of distance.
Position the focal

point, the evergreen
tree, left of center.
Apply a light wash of cadmium red light over the white gesso of a
20" x 16" canvas. Sketch using a #5 flat bristle brush with thinned
dioxazine purple blended with ultramarine blue. Establish the
ridgeline of the mountains, and position the distant mountains and
TIP
the outline of the rolling hills.
w a s h ’s w arm red
round sition’s
The backg ect for the compoeen and
rf r
tone is pe tely green tones. G ds of the
n
predomina are at opposite e e vibrant
e
red-orang ctrum; they’re morr.
color spe hen used togethe
w
30 | A C R Y L I C

JZH Page: 30
Rough in the sky, defining
the edges of the ridgeline.
Using a large 1" brush, block in the basic color areas to establish
some color in the shadows that will be visible between all the
Loosely block in shadow
foliage. To keep the colors clear, blend a small amount of titanium areas of the foliage with
white into each of the three colors. complementary colors.
LOW ER SK Y HIGH SK Y CLOUDS
dioxazine purple ultramarine blue ultramarine blue

+ + +
titanium white titanium white titanium white

= = +
dioxazine purple
=
SEASONS | 31

JZH Page: 31
Highlight where the sun hits the
PROJECT FIVE | distance & dimension peaks of the blue and purple
mountain ridges with tones of gray.
Paint the earthy greens of the meadows and foothills. Block in the colors
of the evergreens with warm green. The mountain shapes are formed with
brushstrokes of blues and purple tones for the shadow areas.
WAR M GREE N BR IGH T GREE N MOUN TA IN GR AY
cadmium yellow dark phthalo blue dioxazine purple

+ + +
ultramarine blue cadmium yellow cadmium yellow dark

= + +
titanium white titanium white

= =
32 | A C R Y L I C

JZH Page: 32
amount of
Do not overdo the ntain ridge;
TIP
ou
brushwork on the mtexture. Let the
simply suggest the s do the work.
brush and canva
Add texture and the perception of details in the rock face of the mountain
ridge. Follow the light and shadow patterns, this time using the edge of Create more defined foliage
a #3 fan brush. Lightly brush in additional color to create the feel of the by adding another layer of
variations in the stone. green tones.
SEASONS | 33

JZH Page: 33
PROJECT FIVE | distance & dimension
Shape the evergreen tree

with the same fan brush
and bright green and
yellow highlights showing
the sunlight and new
spring growth.
Load a round #5 bristle brush with primary red

and titanium white, and paint in the clusters of
wildflowers.
Highlight the parts of clouds illuminated by

the sun using a fan brush with a light load of
titanium white.
Y ELLOW GREE N
cadmium yellow dark

+
titanium white
+
phthalo blue
=
Create highlights and fine details with a

script liner brush.
34 | A C R Y L I C

JZH Page: 34
Define the foliage in the foreground with brighter greens using a fan brush. Sparingly lay in the foreground greenery with the
edge of a fan brush to avoid completely covering the shadows.
SEASONS | 35

JZH Page: 35
PROJECT SIX
chromatic
The range of warm colors of the turning leaves gives
your painting tremendous visual impact and appeal.
impacT
This is an easy subject to paint and one that will give
you great satisfaction.
Prepare a stretched 24" x 18" canvas

with a wash of cadmium red light.
Roughly sketch with thinned dioxazine

purple the curving road, main tree
trunks, and branches.
CO OL SHAD OWS
ultramarine blue
+
titanium white
+
dioxazine purple
=
Next, block in the main shadow areas using a broad 1" brush. With quick brushstrokes, establish where the
dark foliage appears.
36 | A C R Y L I C

JZH Page: 36
Dab in cadmium yellow and titanium
white for the gold-leafed branches.
If you’r
p h ot
e
o,
w
re
or
m
k
em
in g
b
f
er
ro
t
m
h
a reference
at a photo
TIP
s f a c t s- a n a rt ist creates
capture ’t feel like you
th e em ot io n . D on
he photo
need to replicate tcuracy.
with complete ac
Paint the green leaves in the GREE N LE AV E S Introduce a mixture of quinacridone

trees and the foliage along the
road. With a small #2 brush, magenta with titanium white
phthalo blue
rough in the tree trunks and alongside the green leaves.
+
branches with dioxazine purple.
cadmium yellow dark
+
titanium white
=
SEASONS | 37

JZH Page: 37
PROJECT six | chromatic impact
Paint the fallen leaves

along the road’s edge
with magenta deepened
with a touch of
dioxazine purple.
Add the autumn color leaves to the trees with a ½"-wide flat bristle RED LE AV E S
brush loaded with color. Brushstrokes should be loose.
primary red
+
quinacridone magenta
+
cadmium yellow
In the trees, blend
+
primary red with
titanium white to make cadmium yellow deep
a clear pink color. More +
sunlight hits the upper
branches of the trees, titanium white
so the colors appear =
light and bright.
38 | A C R Y L I C

JZH Page: 38
At this stage, really build up the color intensity on the autumn
leaves. Load a fan brush with color, and use the edge to dab in AU T UM N LE AV E S
the patterns that look just like tree leaves.
primary red
+
cadmium yellow
+
TIP
titanium white
g all the
=
Instead of paintin color, imagine
me
leaf clusters the sawould hit some of
where the sunlight hlight those areas
ig
the tree boughs. H brightened
with color
with white.
SEASONS | 39

JZH Page: 39
40 | A C R Y L I C
(TexT)
JZH Page: 40
Job: 11856 Title: HT344 - ACRYLIC PAINTING SEASONS 9781633222069
Paint in the sky with a mixture of titanium white and a touch of ultramarine blue. Use a script liner brush to add thinner branch details, and highlight
the fallen leaves along the roadway. A pool of light draws the eye to the focal point of the painting, giving the painting a sense of depth.
17/11/16 9:07 am
17/11/16 9:12 am

Vdoc - Pub - Acrylic Seasons Learn To Paint The Colors of The Seasons Step by Step

Uploaded by

Document Information

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

Vdoc - Pub - Acrylic Seasons Learn To Paint The Colors of The Seasons Step by Step

Uploaded by

Copyright:

Available Formats

seasons

Tools & Materials .....................................2 Capturing Natural Texture .....................18

Color Basics ............................................4 Framing Focal Points ............................24

Light & Shadow .......................................6 Distance & Dimension ...........................30

Rendering Reflections ...........................12 Chromatic Impact .................................36

HT344.Interior.indd 1 17/11/16 9:08 am

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

HT344.Interior.indd 2 17/11/16 9:08 am

Painting knives are pointed and a bit

HT344.Interior.indd 3 17/11/16 9:09 am

HT344.Interior.indd 4 17/11/16 9:09 am

Color & Value

HT344.Interior.indd 5 17/11/16 9:09 am

HT344.Interior.indd 6 17/11/16 9:09 am

HT344.Interior.indd 7 17/11/16 9:09 am

HT344.Interior.indd 8 17/11/16 9:09 am

When your brushstrokes

Paint in the sky behind

HT344.Interior.indd 9 17/11/16 9:09 am

A simple way to create the look of snow covering trees branches is

Give the clouds shape

Create the bright snow

HT344.Interior.indd 10 17/11/16 9:09 am

HT344.Interior.indd 11 17/11/16 9:09 am

HT344.Interior.indd 12 17/11/16 9:09 am

HT344.Interior.indd 13 17/11/16 9:09 am

Now block in the greens

HT344.Interior.indd 14 17/11/16 9:09 am

Dapple in the light of the sky

HT344.Interior.indd 15 17/11/16 9:09 am

Using a fan brush, dab shadow and bright green to the

cadmium yellow deep

titanium white BR IGH T GREE N

Brighten the white titanium white

Add white blended with just a hint

HT344.Interior.indd 16 17/11/16 9:09 am

HT344.Interior.indd 17 17/11/16 9:09 am

Prepare a stretched 16" x 20" rectangular

Large tree trunks

HT344.Interior.indd 18 17/11/16 9:09 am

DEEP GREE N BR IGH T GREE N BLUE SHAD OWS

ultramarine blue phthalo blue phthalo blue

cadmium yellow dark cadmium yellow titanium white

HT344.Interior.indd 19 17/11/16 9:09 am

Paint the tree trunk

With a fan brush, fill the scene with greenery in a variety

HT344.Interior.indd 20 17/11/16 9:10 am

HT344.Interior.indd 21 17/11/16 9:10 am

Lightly highlight the tips and sun-facing edge of the flowers

With a fan brush loaded with titanium

HT344.Interior.indd 22 17/11/16 9:10 am

HT344.Interior.indd 23 17/11/16 9:10 am

thinned dioxazine purple

HT344.Interior.indd 24 17/11/16 9:10 am

titanium white cadmium yellow

HT344.Interior.indd 25 17/11/16 9:10 am

With a 1" brush, start layering in colors of green to

HT344.Interior.indd 26 17/11/16 9:10 am

Add details to the rowboat. Rough in the strakes of

HT344.Interior.indd 27 17/11/16 9:11 am