Remember
when painting the hills they will have a blueish tinge caused by the atmosphere.
Paint
in the sky first. Use Raw Sienna in a graduated wash from the horizon to top of
the paper. This will be much easier if turn your work upside down.
Return
your work to its right way up. Paint over your first wash with a graduated wash
of French Ultramarine. Do not take this down to the horizon, finish well before
the peaks of the hills. Allow to dry.
Now
paint in the hill line, with a pale tint of French Ultramarine with a touch of
Light Red added. Immediately add clear water to the bottom of this wash to give
a slight misty effect.
Paint
in the far fields with a pale blue green, as you work your way towards the
foreground add more and more yellow to green. Wait till dry. Now add in the
distant trees and edges. Again remember those farther away will be tinged with
blue, use a mixture blue and yellow with a touch of Raw Umber. Gradually add a
little more yellow as you approach the foreground. Keep all these mixtures on
the pale side.
Paint
in the hedge. First put on a light wash of yellow mixed with Payne’s Grey. Add
in more Payne’s Grey to the mix and dab into the previous wash while still
wet. Add Lamp Black to the mix again dab into the wash this time only from the
bottom of the hedge to half way up. While painting the hedge try to leave parts
of the fence white and also the tree trunks.
Commence
painting the trees with a mix of Raw Umber with a touch of Ultramarine. Add more
ultramarine into the shadow sides of the trunks and branches.
For the narrow branches and twigs use your rigger brush. It helps if you hold
the rigger horizontal to the paper; this seems to give a realistic feel to the
tree. When dry add a few dark lines to the tree to resemble bark.
Paint
the foreground field and track again with Payne’s Grey and a yellow. For the
track use raw umber with Payne’s Grey. Run this into the wet wash and let dry.
Highlight
the shadow side of the fence posts with a dark mix of raw umber and lamp black.
Paint in the gate and figure. Use the rigger to outline the dark sides of the
track ruts, using the same mix.
Finally
put in all the shadows using a mix of Payne’s Grey and a touch of Light Red.
The small illustrations above were taken with a camera as work progressed and do not represent true colour. The large illustration was scanned onto a computer and is more realistic of the colours painted.