Tear-off palette or stay-wet palette (I demonstrate on an A3 size tear-off palette)Īrtist quality acrylic colours.I demonstrate on a 10 oz cotton duck canvas, 19mm Profile and the ratio I use for the main paintings are based on the Golden ratioĪn alternative brand in the US is Masterpiece Fibonacci Golden Rectangle Canvas Other materials Jacksons Art (UK) 10 oz cotton duck canvas 20 x 32.4cm (Code: CJS2032)that has 2 coats of white acrylic gesso applied.You don’t need the RGM 81 but the larger the palette knife the quicker you can mix larger amounts of colours. I use an RGM 45 for mixing the paint on the painting and a larger sized square palette knife (RGM 81) for mixing the coloured ground. RGM Classic Line, Medium size 45, Diamond shaped, cranked (angled) handle.Isabey Isacryl Acrylic Brush, Filbert shape, Size 10 – Series 6572.Isabey Isacryl Acrylic Brush, Filbert shape, Size 6 – Series 6572.Jacksons Art Black Hog Bristle Brush, Size 4 – Series 335. The dimensions are approx 3-5mm in diameter and 1.5 – 2cm in length Small nylon round brush – This brush didn’t have a brand name or specific size on the brush, any small round will be fine.2-inch Purdy decorators brush – XL Monarch Elite. You can also download a High-Resolution Image here. Please Note: The Original photograph has been cropped down to the Golden Ratio proportion used in the painting. Photo Credit: “Winter Morning” by Liz West Licensed under CC BY 2.0. The photo below can be ‘right clicked’ and ‘Save image as’, so you can use it as a reference image, print it out and follow along with the video above. Now you have to realise that this will all come together when the picture is complete – the urge to add darker or lighter paint to the compressed range or brighter saturated new colours to the mix will be hard to resist! Downloading the reference photograph If you get into the practice of pre-mixing colour (or tonal) strings and then only use those colours, it will give you a much more compelling picture. I wanted to keep this tutorial simple and impressionistic, working within the discipline of Burnt umber and Ultramarine blue to capture the essence of the scene. So for this study, we’ll begin with a warm and cool palette from the blue and orange family, alongside pre-mixed grey neutrals. I’ll be using a very limited palette to produce beautiful pastel colours and mixing colour strings for subtle shifts in tone for the painting. So we have a compressed value range in the least saturated season. It can be misleading to our perceptions because when you think of snow, you usually think of white and apart from the very darkest areas on the left of the image, the majority of the tones are within 2 -3 value steps. In our reference image above, you can see how close in value the sky is to the value of the snow. Tones of black and white appear on a ‘tonal value scale’ that goes from light to dark This creates what can be called a ‘tonal map’, ‘value map’ or ‘tonal range’ but the main thing to remember is how wide or compressed that range is, as it will influence how light or how dark you can go with your pigments. The easiest way to see this when you’re first starting is to turn your image into black and white. When I’m painting landscapes, I’m essentially looking for ranges of light and dark and assessing the values in the scene by eye. Bright and hard light – saturated colours, wider tonal range, more contrast usually Summer which has a wide tonal range with high saturation.Dull and soft light – muted colours, narrow or compressed tonal range, less contrast. The softer the light source, the softer the edges, these are all key elements that make a Winter scene appear magical. In our Winter scene above, the main light coming from the sky is diffused behind thick clouds with a low-level glow of the sun peaking through, giving us a compressed tonal range, muted colours and shadows on the ground or in the snow that are soft, with diffused blended edges. The templates are available to members of the Arty Crafty Kids club.Photo Credit: “Winter Morning” by Liz West Licensed under CC BY 2.0. The printable download includes a step-by-step How to Paint a Winter Tree guideĪnd a starter template with pre-drawn slopes. Fine Tipped Brushĭownload the Step by Step How to Paint a Winter Tree Guide: They should take note of how the trunk is significantly larger than the branches, and how the twigs are smaller still.Īt a very basic level, by observing these slight differences within their art work, children will be begin to learn about perspective. Before Arty Crafty Kids dive into this art project, they should take a moment to observe the trees within their environment assessing and acknowledging their peculiar and unique structures and shapes.
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