COMPOSITION AND MATERIALS
I love the "The White Mountains - Mount Washington" by John F. Kensett. I have been attempting to incorporate his color pallet into my recent study paintings. Also, one night when I was looking through some art books, I came across another painting that caught my attention: A landscape painting with similar composition to Kensett's painting but with a different approach to color use. The latter painting is entitled "July Fields" by Barbara Nuss, and its published in the book "14 Formulas for Painting Fabulous Landscapes" by Barbara Nuss.
Both of the above landscape paintings are beautiful and have inspired me to try some new things in this painting. I began by sketching the composition onto the canvas. You can see similar elements in my composition with those from the two reference paintings.
I wanted a vast sky with much blue peeking through thick but bright tipped clouds. I have placed several large trees that extend above the horizon, and I want them to stand out against the sky with sharp contrast. I like the effect that I achieved on my painting "Just Passing Through" were the path leads the viewer off and to the right, into the mysterious darkness of the forest. I want to achieve that same sense of mystery in this scene at various spots where the tree growth is heaviest... even projecting this feeling into the distant areas surrounding the homes, barns, and fields. My wife Jennifer took the perfect sky picture for this painting which I digitally edited into my reference sketch.
- Support: Pre-Stretched & Mounted Medium Textured Cotton Canvas (Acrylic Primed)
- Size: 8 x 10 inch
Winsor & Newton 'Artist Oils' Professional Grade Oil Paints
(Ivory Black, Titanium White, Corelian Blue, Sap Green, Naples Yellow, Raw Sienna, and Raw Umber)
- Finish: Winsor & Newton Dammar varnish
STEP-BY-STEP OIL PAINTING
Day 1 / Hour 3
I always begin my paintings by laying down the sky. In this first image, I blocked in the blue and clouds rather roughly.
Day 1 / Hour 6
At this point, I returned to the painting to make adjustments to the sky. I refined the clouds, making them more detailed and distinct by adding darker areas to their underside.
Day 2 / Hour 9
I added white highlights to the clouds, finishing them off. Next, I started with the horizon and distant land features. Notice that I did not paint where my big trees were going.
Day 2 / Hour 12
My focus was on just on midlands and fields, again painting around the areas reserved for my big trees and closeup details. On the left side, I painted foliage right down to the house; I will change this in future sessions.
Day 3 / Hour 15
Big day! First I expanded the field directly in front of the house which opened up that area more. The house does not feel so hidden behind the trees and shrubs anymore. Also, the road now follows an "S" shape from the foreground to the house. Next, I began to lay down some of the foreground details. The fields and road are detailed, and I added the big trees on the right and left. I made a small adjustment from the original composition to the tree arrangement on the right, and I added a thick bushy tree to the far right that appears slightly in front of the two taller trees that are reaching out into the sky.
Day 3 / Hour 16
Today I focused on the group of trees to the right. I added the leaves to the two taller trees while also painting in the light patterns on the tree trunks. I added highlights to the bushy tree on the far right, and the road received detail.
Day 3 / Hour 17
Composition Change! I decided to add a huge, close, tree on the right that had branches that extended out and overhang the left side of the painting. Notice that at this point I only painted the trunk itself. I did begin to paint in the shadows from all these trees on the right side, notice the ground underneath the trees.
Day 4 / Hour 18
Today came more work on the new big tree. Trunk highlights were added to reflect sunlight. The suns position in this paintings is directly overhead so the shadows cast straight down. I added more green color to the field, and I toned down the road and shadows on the left.
Day 4 / Hour 20
The road needed more earthy tones added, and I started the shadows to the big tree on the right. The effect I was after is one where the sun breaks through the leaves of the tree making a patchwork of light and shadow on the ground. Leave were added to the big tree. Because the big tree is so close to the viewer, I took more time to paint the leave in detail. I tried to capture the shape of the leaves rather than adding small dabs of paint as I did on the trees that are farther away.
Day 4 / Hour 22
The field on the left side had too much shadow for the trees in that area, so I brought the sun across the field and off the canvas to the left. I also extend the patchwork of sun and shadow from the big tree across the bottom of the painting. Notice that I also darkened the shadow of the big tree making more contrast while shading the leaves on the underside of the tree. A small touch was the tire (or wagon) tracks on the dirt road.
Day 5 / Hour 23
I added some details to the front left of the painting, A shrub, fence, and small flowers. I also kept manipulating the patchy light and shadow area of the big tree. The field in front of the house also received a bit more green.
Day 5 / Hour 24
The composition (concerning the big tree) led the view off the canvas with the branch on the upper left. Adding some leaves to this bare branch broke up the area helping to keep the viewer's eye from being led off the canvas. Highlights were added to the dirt road increasing the contrast between light and shadow under the big tree.
Day 6 / Hour 26
I roughed up the fields to add some texture, which also gives more of a sense of grasses and weeds and not just a solid block of green. I add the final highlights to the road and shadow under the big tree to finish off the painting.