Cactus and Succulents Garden Hanging Garden Window Garden Seasonal Flowers 2. Coleus 3. Rose 2. Chrysanthemum 3. Dahlia 4. Carnation 5. Gerbera 6. Aster 7. Anthurium 8. Bird of Paradise 9. Orchid Jasmines Marigold Gladiolus Tuberose Amaryllis Lilium Download Sample PDF.
Nature has provided them with many of the compositional elements mentioned above. Consider the field sketch of the Madrone tree shown below, and the watercolor painting on the facing page.
Vertical tree trunks provide powerful lines that grab the eye and command it to move upward. In fact, these unbroken vertical lines are so powerful that they can lead the eye right out of the painting! Note how the horizontal leaf groupings and the arched branches above the trunk intersect the eye as it travels upward and lead it to other areas of the painting. The vivid reddish brown of the Madrone bark is a definite attention-getter.
Most tree barks fall in a more muted range of browns or gray. What they lack in color, they make up for in texture and contrast. Each type of tree has its own signature written in the smoothness or the rugged-ness of its bark.
The Madrone tree has shreddy patches of roughened fiber and areas of green satin smoothness where the bark has peeled away. Other tree barks have shaggy coats, deep fissures, thick scaly plates, sandpaper-like patina or a covering as smooth and shiny as oil cloth broken up by washboard islands of roughness.
The colored pencil drawing below is of a hemlock tree growing over a Douglas fir stump. Stroking style and direction, plus value contrast, are the focus of these drawings.
The pen and ink drawings on this page were detailed with. A variety of strokes was used to add texture. Washes of watercolor enhance the mossy richness of the maple tree trunk at left. Pen blending Pen blending is the technique of stroking a technical pen over a damp surface so that the ink line frays at the edges and flares out in spontaneous spots. When applied over a dry layer of watercolor that has been re- dampened, the frayed ink lines look soft and aged, blending readily into the watercolor painting.
A combination of regular ink lines and pen-blended lines can create a textural effect that is perfect for suggesting rugged tree bark shown in detail. The following step-by-step demonstration shows you how to use watercolor and pen blending to create the weather-scarred trunks of two ancient Red Alder trees. Use the pale gray wash to block in the darker areas of the tree trunk. It should be tinted just a wee bit more than the white of the paper. Let it dry.
Stroke the deeply scarred areas of the tree trunk with a pale wash of Burnt Sienna. Add a touch of Sap Green to the Burnt Sienna to make an olive brown and use it to color the large knotted scar. Block in the background areas with greens and blue- greens that have been muted by adding a little of their respective complementary color. Keep the background colors muted so that they retain a distant appearance. Let the paint dry.
Use a no. Keep it open and lacy, allowing lots of sky to peek through. Allow some of the paler layers to show through. Paint in a few close-up leaf shapes at the top of the tree to break up the vertical line of the trunk. Begin texturing the trunk using. Fill in the wide cracks, scars and knot holes more solidly. The ink lines should fray and flare spontaneously on the moist surface, as shown in the diagram on the previous page.
If the ink refuses to flow, the paper may be too wet. Note: fiber tip pens do not work well for pen blending. Stroke a darker version of the gray mix used in step 1 along the left side of the tree and into the bark crevices.
Ink and paint the more distant tree trunk in the same manner, but with less detail. Let them dry. Paint the foreground using variants of the greens, browns, and olives already used in the painting.
Remove the masking and paint the long grass blades pale olive green. Although the cut-down version of this painting seen above in step 7 makes a nice composition, the painting seen at right in its entirety has a greater feeling of depth and openness. The color and texture of tree bark These examples of various types of tree bark were painted with layered washes of watercolor and detailed with pen and ink.
The paint was applied in three layers, allowing each wash to dry before the next was added. The fine, narrow ink lines were applied over a dry watercolor surface using a. The frayed ink lines were stroked over a layer of re- dampened watercolor pen blending using the same size pen.
The color chart below shows how easy it is to combine complementary colors to produce the muted browns and grays that are seen on tree trunks. Start with the base color A and add minute amounts of its complement B , until the desired shade is reached. Proceed slowly: the color will change rapidly. Painting birch trunks The birch trees in the reference photograph at right are too far away to see texture and fine detail, but they display wonderful contrast of value and color.
This is the type of scene that is fun to paint in an impressionistic manner, where spots of color are used to suggest an image to the mind. The watercolor miniature below was painted in half an hour using a small filbert brush and free, spontaneous strokes. It captures the essence of the scene and would make a delightful journal entry.
The acrylic painting on the facing page took two days to complete and was accomplished in three stages. Rugged bark and branches in watercolor Trees such as the Lombardy Poplar, Cottonwood, Ash, Hawthorn, Apple and Locust take on a rough, unkempt appearance as they mature, with sucker branches sprouting from their lower trunk. Here are some fun techniques that you can use to capture their rugged texture.
Bruising Bruising is the process of dragging a narrow, blunt tool such as a stylus, toothpick or old credit card through a wet wash to compress the paper and allow the pigment to gather in the depression that is formed.
It works well to suggest fine, dark grooves in the bark or distant branches against the sky. Drybrushing Paint a light wash over the trunk area and let it dry.
Load a no. If the brush has been blotted sufficiently, its coverage will be incomplete and rough looking. Let a fair amount of the underlying paint coat show through for contrast. Masked Branches Before you start painting the tree bark, mask out the pale sucker branches that may be sprouting out of the trunk or hanging across it. One of the mask applicator bottles is perfect for this.
After the trunk is painted and is dry, remove the masking and paint the branches with a light watercolor wash. Scraping Dragging a wider, blunt tool such as the tip end of an aquarelle paintbrush handle or a scraper-edged painting knife through a damp but well-settled wash, will push the paint aside and produce light streaks with dark edges. However, the focus of this chapter is on the evergreen conifers, the hardy needle-leaf or scale-leaf trees like pine, fir and spruce that grow in rugged, picturesque places.
Consider the landscape on the facing page. The scene is set in the Cascade Mountains of Oregon, where the north fork of the Hood River can run rampant during spring floods, washing out banks and pushing boulders and fallen trees to new locations as it rushes along. The painting is meant to tell a story. It suggests both the might and majesty of the high country. The mountain ridge in the background and the towering Douglas fir trees add grandeur to the landscape.
Douglas firs can reach a height of two hundred feet 61 meters , their narrow pointed crowns stretching heavenward. Step-by-step instruction for painting the same background is given on pages 86 and You will also find information in this chapter on how to design a conifer composition. They are all represented in the upcoming pages. Here are two different views of a wooded valley. They both feature the same grouping of Douglas fir trees, which are partially silhouetted in rich, deep shadow, and would make a good focal point for a painting—especially with the sunlit shrub framed up against them.
I like the large golden-green shrub in Scene 1 and the open meadow area behind it. I also like the vibrant blue hills behind Scene 2 and the shape of the fir tree on the far left. The solution is to combine them into one scene. The dark shadows help to offset it to the left. I now have room on the right to include the other shrub and the distant meadow. Here are some helpful tips to remember when combining several scenes into one landscape.
All other elements of the composition should support or complement the center of interest, not compete with it. The lighting and weather conditions can change rapidly. The photo view screen in a digital camera is a good emergency backup. The cattle had rubbed off its lower branches, giving it a triangular shaped crown. By offsetting the tree a little to the left and balancing it with a row of dark fir saplings, it makes a simple but workable landscape scene.
This one was painted in watercolor, but feel free to experiment with the scene using other mediums. Work quickly, using loose, scribbled strokes. Shade the trunk using Burnt Umber with a hint of Sepia added. Contour the trunk a little more using the dark brown mix. For the sake of simplicity, leave the sky unpainted. After the preliminary wash dries, add a scribbling of muted blue-green along the top of the hill to suggest a distant forest.
Basecoat the foreground loosely with a wash of yellow-green and Burnt Sienna. Let it dry and add horizontal streaks of the various green mixtures to suggest tree shadows and grassy patches. Focusing on texture The Red Fir tree and the snag in this rugged landscape are clinging to the rim of the extinct volcano in Crater Lake National Park. To capture the coarse grain of the wood and the details of the layered fir boughs, I began with an ink drawing on cold press watercolor paper, using a.
Before starting the ink work, I drew the scene lightly in pencil and used light watercolor washes to block in the basic shapes and to indicate where the highlighted foliage areas were. This helped a lot when I was working on the tree branches. As shown in the closeup at right of the painting in its early stages, I used a lot of scribble strokes, along with crisscross lines fir needles , wavy lines weathered wood and contour lines branches and ground cover.
The painting was completed using watercolor washes to suggest the lake and distant hills and to tint the ink work. I liked the way its muted colors and textures contrasted with the mid-and foreground. I decided to paint it in watercolor to accentuate the feeling of open space.
The ridge is separated into areas of light rockface, deep shadow and sunlit forest. The rockface areas are underpainted with a very pale tint of Dioxazine Purple muted with yellow.
The first layer is barely noticeable. After it dries, a second layer is selectively daubed on to suggest some of the darker rock areas. The sunlit timber patches are filled in using several watered-down tint mixtures of yellow-green muted with a hint of Burnt Sienna.
The paint is applied using vertical strokes. Finally, the deep shadow areas are underpainted using a light wash of Ultramarine Blue muted with orange. A touch of Sap Green is charged into the middle of the two largest patches of shadow. Shadows are suggested with vertical streaks of the two green mixes daubed randomly throughout the forest.
Make the strokes no longer than the height of the distant trees and avoid the creation of a uniform pattern. It should look as if a bluish haze has settled over the trees.
You can accomplish this by glazing the dry tree sections with a very pale wash of the sky blue mixture. The mix should be a dull blue-violet.
Leave the greenish patches in the centers of the large, dark timber areas unglazed. Let the paint dry, then apply a glaze of sky blue wash over all the deep shadow areas to unify the hazy effect. The green tones are similar to those used in the background, but they are more intense. The shadows are much darker in value. To see this painting completed, turn to page Knife painting with acrylics Since fine details are hard to achieve using painting knives, I find that painting with them is a good way to loosen up my work.
Usually, knife paintings are associated with oils, but they work just fine to apply acrylic paint. In fact, there is less spontaneous blending, so the colors stay rich and bold. Most of this winter landscape was painted using the small, flexible painting knife pictured here. To properly load it, smooth out a thin sheet of paint on the palette. Scrape up some of the paint with the edge as shown. To cover a large area, scrape up a good amount. To make a narrow line, scrape up just a little along the edge.
To make rounded daubs, swipe the tip of the knife through the flattened paint. Use a large scraping knife to fill in the big areas like the sky. Keep this application as smooth as possible so it will be easier to paint over. Add white for lighter areas.
Use the knife edge to form the tree branches. The sky color Ultramarine Blue and Phthalocyanine Blue mixed with white is applied between the branches; add a cloud to balance the snow patches. Work the foreground areas using brighter versions of the color mixes used in the background.
The dry grass blades on the near side of the stream will test your ability to create fine lines with the knife. Painting a conifer landscape in oils Driving along the Pacific Coast Highway in late afternoon, I came upon this scene. Set against the faded sea, the outline of the cliffs was striking.
The colors and light-play were vivid. The richness of the landscape begged to be painted in oils using a layered process. Cover most of the painting with a wash of paint except the sky. Indicate general tree shapes, main limbs and contours.
Mix green with Azo Yellow Lemon and Burnt Sienna separately to produce shades of yellow-green and olive. Enrich the greens in the fields. Lighten the cliff face by adding Titanium White to the color mixtures used previously in step 2. The contours of the cliff face are carefully brought out by mixing complementary colors plus white to make muted purples, creams, sienna beige and greens, and applying them hard edged.
Work the middle and background areas in greater detail, with bits of muted purple and Burnt Sienna added for color unity. Do the dark areas first and let dry before adding the foliage. Refer to the finished painting on pages for greater detail.
Begin to define the foreground meadow using various greens, yellow-greens, muted yellows and browns. The evergreens in the painting are Sitka Spruce and Shore Pines. Under a spreading chestnut tree The village smithy stands; The smith, a mighty man is he; With large and sinewy hands; And the muscles of his brawny arms Are strong as iron bands. Many have compared the strength, stability and rugged grandeur of that sturdy old chestnut tree to the blacksmith himself.
It makes a very picturesque analogy. Although poetic words can call up a strong image, adding a tree to a landscape scene can set a mood or add grace and majesty to an otherwise flat vista. Leafy boughs reaching upward against a cheery summer sky can elevate the spirit. Bend the limbs and fold back the foliage against a strong wind and a gathering storm, and your painting will have an atmosphere of power and suspense.
In a composition, straight lines command the eye to follow along quickly, while curved lines allow the observer to meander the course, taking time for contemplation. Trees, especially mature hardwood trees, provide wonderful, pliable shapes in the form of trunks, limbs and foliage patterns that can be arranged with free artistic license to provide just the line and shape you need, where you need it.
Consider the mixed-media painting on the facing page. It was rendered in an illustrative style, beginning with a pen and ink drawing on heavy drawing paper and then tinted carefully with thin washes of watercolor in order to allow the texture of the ink work to show through. Without the tree, the scene would be sadly lacking in contrast and interest.
The emphasis of this chapter is on the leafy, graceful hardwood trees and how to use them to the best advantage in your landscape scenes. These watercolor field studies, painted with a no. Even the shape and density of the leaf clusters can vary greatly.
Short, dabbing strokes were used to depict clusters of rounded leaves. Long, narrow leaves were suggested using longer strokes. Quick and easy trees in acrylics A tree, richly draped in summer foliage, has great depth and a full range of value changes.
The green hues, tints and shades are numerous. As complicated as it may appear, a tree need not be difficult to paint if you define it with a limited palette and simple, broad strokes.
Start by mixing the colors shown in this chart and place them on a wet palette. Add varying amounts of white to make the next three lighter blue-green tints. The technique is very efficient for working in the field. The tree in this exercise is a stout little Hawthorn with a fairly rounded crown.
Work quickly and loosely with broad, bold strokes. Leave plenty of deep shadow areas to represent the dark interior of the tree.
Work some shadows and mid- tones into the background areas and darken the shadow under the tree. Shade the trunk and add a few limbs using the Burnt Sienna mixtures.
Use the three lightest green tints to add highlights to the upper edges of the leaf masses, working from the darkest mix to the lightest. To make the foliage look light and lacy, use a sideways, undulating stroke. Add some of these lighter greens to the foreground. Pointing in vivid detail As seen in the watercolor painting on the right, a tree can take up the majority of the scene and still not be the center of interest.
In this case, the tree serves as a literal support for the three rambunctious boys and their tire swing. The main colors used in this painting are a muted red-orange, and warm and cool greens, blues and browns. The yellow and blues were used to control the temperature of the greens, while the orange was used to mute them. I used the most intense hues in the clothing of the boys and repeated them in more subdued color mixtures throughout the rest of the painting.
The flesh tone mixtures are Burnt Sienna Burnt Umber for the darker skin tones mixed with a little red-orange and muted with a touch of Sap Green. Because this painting is presented in a detailed, realistic style, I worked the characters to completion before starting the tree or background. The reason is simple: I wanted to make sure I liked the way the boys looked before putting time and effort into the rest of the painting.
Once they were completed, I could plan the colors and values of the surrounding area to set them off. Apply finely masked lines and dots in the background forest area to suggest tree trunks and bits of highlighted grass and foliage. Next, the tree foliage areas are laid down using a range of cool blue- green mixes and a no.
Using short, dabbing strokes with the no. Warmer greens and olive mixtures are used to suggest these distant trees, with the blue-greens repeated in the foliage of the mid-ground oak and pine. Furrows run parallel to the shape of the trunk and limbs, breaking into long, narrow sections.
Ink can be applied to both a dry and re-dampened surface. Allow bits of the paler undercoat to show through. Remove the masking fluid, revealing delicate white shapes in the background area. Tint these with pale washes. Leave the top of the hill off- white to provide a strong horizontal line leading the eye back to the boys. I added a baseball cap and an oak sapling at the base of the tree on the left to help balance the bold colors and strong values used in portraying the boys. Because the center of interest is so busy, this painting requires that the foreground be rather simple.
Using a no. The pale washes are laid down in horizontal strips, working from sienna browns and dull olives on the side of the hill toward light greens and blue-greens under the tree. Lighter versions of the trunk colors are used in the bare ground areas.
A splayed stroke brush fill the brush, blot it and gently separate the end fibers can be used to suggest patches of grass. These should be stroked in horizontal groupings rather than equally spaced bunches. The splayed brush is also used to make shoe scuff marks under the swing. Brush-spatter in various shades of brown and blue adds the finishing touch of texture to the bare ground.
Flick a loaded flat brush smartly against the edge. Spatter will be flung in the same direction as the brush is being flicked. The higher the finger or card is held above the paper, the larger the spatter area will be. The juicier the brushload, the bigger the spatter drops will be.
With practice this spatter technique can become quite accurate. Pointing a shade tree in watercolor Mature shade trees have lofty, spreading branches and heavy foliage that casts rich, dark shadows. When the summer sun climbs high overhead and the air shimmers with heat, both man and beast seek the coolness found beneath the boughs of the shade tree. Here are the steps for painting this pastoral scene in watercolor. The base color is Permanent Green Light. Make this puddle large.
Do not work the paint into the paper, but allow it to absorb slowly. Work one foliage grouping at a time. As the paint begins to settle against the paper, charge Azo Yellow into sunlit areas and the darker green mixture into the shadow areas and let the paint flow where it will. When the foliage areas are dry, block in the trunk and limbs in Sepia or a similar gray-brown mixture.
Glaze the red wash over the lighter foliage areas where you wish to create subtle shadows. Add a second layer of Sepia paint to darken the trunk shadows. The greens and browns used in the tree are repeated throughout the rest of the landscape. However, it became apparent as I studied the scene that it was going to be the plain green round shrub that drew the eye—an oasis surrounded by vibrant energy.
While on location, I took several reference photos and made a quick field sketch with a brown felt tip pen to study shapes and values. It seems to work well. A thumbnail watercolor painting helps to explore color mixtures. I learned that bringing some of the rose reds into the tree will help balance the composition colorwise without spoiling the cool tones of the crab apple foliage.
Leave the sky and roses unpainted. Using the palest color mixtures shown on the sample palette below left and a small, flat bristle brush, begin working oil colors over the acrylic paint. Add a minimal amount of walnut oil medium to the mixtures at this stage. The underpainting gives you the freedom to work loosely, guiding you as to the general placement of color.
Thin daubs of very pale pink in the tree foliage and rose bushes reserve space for highlighted leaves and the roses.
Let the oil paint dry. Using a medium sized round brush and several mixtures of Burnt Sienna plus Ultramarine Blue, darken the shaded portions of the tree, the trunk and the heavy ground shadows. Apply the paint in unblended daubs, allowing the strokes to remain hard edged. Daub some red into the tree foliage for color balance. Start with the tree foliage and work downward to help keep your hands out of the paint.
A medium sized round brush is used to complete the rest of the painting. Apply the tree foliage in small, hard-edged daubs of various pinks mixed from Cadmium Red Light. Add a hint of Ultramarine Blue to the pink mixtures to give them a slightly cooler appearance. Place the darker tints first, working toward the lightest color.
In this impressionistic technique, more attention should be given to the placement of color and value than to the creation of solid-edged forms. Work the background and foreground foliage in a like manner using the green mixtures shown on the palette on page Add pinkish-red highlights and deep red shadows to the roses. Place these same hues in the rose centers, on the tree trunk and on the sunlit ground.
Let dry completely. Touches of straight Cadmium Red are scattered among the tree leaves and rose petals. Add details such as the stems in the rose bushes. Place highlights and bits of bright color here and there to unify the painting and bring it to life.
Tender leaves in shades of delicate green sprout from sap-filled twigs, and, of course, there are flowers. Robed in pastel tones of yellow, pink, lavender and purest white, the blossoms cover the branches of the fruit and ornamental trees like an abundant gathering of tissue paper snippets.
Although spring landscapes can be refreshingly beautiful in and of themselves, this chapter is dedicated to the portrayal of the tree blossoms and some new ways of presenting them. The view from this level is a breathtaking spectacle of branches, flower clusters and patches of open sky. Now consider the oil painting of the Tulip Magnolia blossoms on the facing page.
The flowers are lifesize, up-close and detailed, yet you can see beyond them, through the tree and into the sky. This is a micro-landscape in which the flowers become the main focus and the open blossom commandeers the center of interest. The tree branches perform the supporting role usually occupied by such earthy elements as rocks, fields, hills, dales and distant mountains. The sky is still there, although it is seen a bit out of focus and blurred to emphasize its distance.
On pages you will find the step-by-step instructions for this painting. Below is a Tulip Magnolia blossom painted in watercolor. Flowers look especially fresh and delicate when portrayed in light watercolor washes.
Watercolor miniature of a tulip magnolia blossom. It is fairly simple to paint them in acrylics or oils against a darker background. Working in watercolor takes a little more planning. The tree in the reference photo at right is a weeping cherry. I used masking fluid to preserve the long, narrow hanging branches and the blossoms at the front of the tree while I painted the darker inner branches and the background.
Notice the difference in the definition of the branches when painted against a dark green bush. When the paint was dry, the background was painted around the tree blossoms to pop them forward, using flat washes and charged color applications. Flowering Plum Tree watercolor on paper A mixture of Quinacridone Rose with a touch of Dioxazine Purple and Sap Green, plus lots of water, was used to shade the pink blossoms. Designing a vista landscape A vista is a distant view seen through a window-like opening or at the far end of some sort of passage, which may take the form of a tree-lined pathway, a stream, a steep-sided canyon or a street edged with buildings.
The pathway and the distant focus area form a combined center of interest that is strongest at the point where they meet. Part of the allure of a vista landscape is the great depth that can be achieved. To maintain the illusion, distant forms must be simplified and the colors toned down.
The passage leading to the vista will take up a majority of the foreground, so make it appealing. Remember that curved lines are more artistic than straight ones. Use color, contrast, texture, lightplay, interesting shapes and perhaps a figure or two to lure the viewer into the depth of the scene.
The photos on this page represent a variety of vista landscapes. How would you develop them for a painting? Below are some thoughts I had. Scene 1 Add a distant building and wildflowers along the walls. Scene 2 The foreground needs a bit of greenery or a colorfully attired person.
Remove the car. Pointing a spring vista Although the reference photo at right was shot on an overcast day in fairly flat light, it has the makings of a good vista landscape. The addition of some brighter color in the foreground, tweaking the apple blossoms with highlights, and darkening the cast shadows, will bring the scene back to life.
I have chosen to paint this apple orchard landscape using acrylics, although with a change of technique, it could be done in either oils or watercolor. Since the trees overlap the background, the distant areas must be well established before the apple orchard can be added in.
Keep it simple. The greens used to suggest the patchwork of fields begin with a medial green. Each green mix is muted by adding a speck of red, and lightened with Titanium White. The pink trees are a mix of Cadmium Red, a touch of Gamboge, and White. The darkest shade goes toward the top. The clouds are Titanium White, shaded with a pale gray mixture medial blue with orange and white added.
Dab the clouds in place using a filbert brush. Thin the paint to create wispy clouds. Add the blue-gray tones to the mountains. Use a small round brush and Burnt Umber to paint in the trunks and main limbs. Mix green, Burnt Sienna and white to create khaki grays and dull browns. Use these colors to fill in the open spaces between the limbs in a patchwork pattern. These colors will represent the tangle of background branches and blossoms. The light is coming from the upper right side of the painting.
Use medial green, slightly muted with Burnt Sienna, and green mixed with medial yellow and white to detail the foreground orchard grass.
Add a few dark green shadows cast from the trees. Mix a pale greenish gray green, red and white and use a small filbert brush to tap bundles of blossoms onto the tree limbs as shown.
Mix a light reddish brown from Burnt Umber and White and add highlights to the tree trunks and branches. Painting lifesize blossoms in oils The flowers in this step-by-step painting are the blossoms of the Saucer or Tulip Magnolia tree. The petals are broadly spoon-shaped and leathery, colored white on the inside and cream on the outside, with a bold blush of rose at the base. With a span of up to ten inches 25cm , they are some of the largest blossoms found among the flowering tree species.
Apply the underpainting with a thin, smooth layer of acrylics to map out the forms and cover the canvas. By using the acrylics, you can avoid a lengthy drying time. Block in the sky using Titanium White mixed with Cobalt Blue a medial blue. Use Burnt Umber to suggest the trunk and branches, and cover the petals in Titanium White tinted with Ochre yellow muted with a touch of purple.
I used a walnut- alkyd medium to thin my oils to a creamy consistency. The background should have a blurred, stained glass appearance when finished. Brush over it very lightly with a soft, squirrel- hair round brush to smooth and blend it slightly, avoiding the petals and dark branches.
Let the oil paint dry completely. Use more white in the mix to shade the open flower. Paint the flower bases with a mix of Sap Green, ochre and white. Let the paint dry completely. Add a touch of Cadmium Yellow to Quinacridone Rose and blend in oil medium to thin it to a glaze consistency.
Add white to the center of each sky patch and blend it into the outline. Darken the twigs with Burnt Umber thinned and add touches of Burnt Sienna mixed with white to suggest highlights. Use Quinacridone Rose darkened with Sap Green and thinned to a glaze consistency to shade the depths of the flower center.
See a larger view of the finished painting on page The bright pink of the cherry blossoms draws you through the flowering dogwood branches and deep into the scene. Although it begs to be captured in paint, this one is a challenge. On this page you'll discover Landscape Detailing Volume 4: Water book, and all of them are completely free!
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