In this case, my highlight was the sun hitting the white house and my shadow area under the wooden quay. This sets tonal limits, making it far less likely that you paint in too high a tone and end up having nowhere to go when you come to mix an even lighter highlight. Once I’m happy with the drawing, I paint in the lightest lights and the darkest darks. By contrast, if you were cramming a very wide field of view onto a small board, it is far harder to spot mistakes. This is one of the huge advantages of painting “sight-size”: if everything on your board is the exact same scale as everything in the scene, it’s easier to spot mistakes. If anything is really out of scale or at the wrong angle, it will jump out and make itself known. Once all my basic shapes are in, I’ll move look back and forth between my board and my subject to spot any discrepancies. I’ll often refer back to the hand frame to triple-check I’m on the right track until I’m satisfied that everything is in proportion. This makes drawing a far easier task as I know from the start that everything is going to fit and I won’t run out of room, as sometimes happens when you just work from top to bottom in a linear fashion. After that, all subsequent lines I draw have to fit between those first two. The span of the bridge will go in first, then maybe the line of the bottom of the harbour wall. Touch the tip of your left thumb to your right forefinger and vice versa to create a rectangular shape with your hands, then use this frame to scan for potential subjects – it’s a basic but a really helpful way of deciding where everything sits in the composition. I always choose my view with the classic “hand framing” technique. This is an especially high-contrast scene due to the white buildings that reflect the sun’s full power, so you have to be sure to get that across in the final painting. On days like this when it’s very bright and clear, the colours are bold and the shadows are sharp. This outside painting guide begins with the techniques needed to capture high contrast scenes on sunny days.Įngland’s Avon Gorge is one of my favourite spots to paint as it has everything: dramatic cliffs with bare rock, lush trees, buildings, a bridge and water, all in one place. Beginning with a look at how to approach high contrast scenes on sunny days, he then focuses on painting cityscapes and the coast before finishing with a guide to painting landscapes from a raised perspective.Īlthough oil painting is used to illustrate the plein air techniques, there is lots of useful advice that can be used when painting outdoors in mixed media, pastels or watercolour. With this in mind, plein air painter Tom Hughes explains how to tackle four very different outdoor painting scenarios in the UK. From the landscapes and view point you choose to the weather conditions you have no control over, there are many factors that will impact your plein air painting experience. When it comes to outdoor painting, there are many variables. Link copied to clipboard Discover plein air painting techniques for four different outdoor scenarios in this guide from landscape artist Tom Hughes
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