Anatomy of Trees - Artist's Network
Anatomy of Trees - Artist's Network Anatomy of Trees - Artist's Network
Trees offer an excellent opportunity for texture. The larger the painting the more textureit can bear. You can even use modeling paste where you intend to paint the tree. Fastdrying white is also excellent for building texture. All this helps convey the idea that partsof your trees protrude. I have used dry paint ground down to small chips for very largepaintings to represent leaves. Also try using under-painting white for the close up trees.Tip: If you darkenthe side of the lasttree in a row it willlook more 3D.The rule of thumb is thelarger the painting themore you can get awaywith impasto. Smallpainting should havereduced texture.54
Nature will provide you with many tree branches. These have to be dramatically reduced and whenyou do depict them, just allow the eye to follow the tree trunks or branches just a short distanceand then slow down the quick eye flow by having the tree limb go under the foliage once again. Thereason for this is that any line becomes a visual path and the idea is to move the viewer slowly inthe painting.55
- Page 5 and 6: One thing we need to remove from ou
- Page 8 and 9: If you group trees together thesymm
- Page 10 and 11: Notice that the three trees actuall
- Page 12 and 13: Watch out for cloned tree shapes. I
- Page 14 and 15: Also grouping trees together makes
- Page 16 and 17: When you compare both sides ofthis
- Page 18 and 19: Fitting trees into alimited pictori
- Page 20 and 21: It is not recommendable to have tre
- Page 22 and 23: Also close large gaps on the side o
- Page 24 and 25: One common problem is that a tree l
- Page 26 and 27: Tip: Turn yourpainting upside downo
- Page 28 and 29: Make sure you also pay attention to
- Page 30 and 31: Also, visually trees can easily end
- Page 33 and 34: Avoid competing &boring contour lin
- Page 35 and 36: What you can do is lighten the valu
- Page 37 and 38: Or have the trees go higher than th
- Page 39 and 40: As we learned in the “Painting St
- Page 41 and 42: In this photo I intend to speak mor
- Page 43 and 44: One easy way to avoid over renderin
- Page 45 and 46: Notice how just by skipping a brush
- Page 47 and 48: Summer scenes are probably the wors
- Page 49 and 50: Autumn trees are tricky because you
- Page 51 and 52: Here is a recommended palette you c
- Page 53: This painting has no green hue what
- Page 57 and 58: When you create foliage backgrounds
- Page 59: When you create foliage backgrounds
Nature will provide you with many tree branches. These have to be dramatically reduced and whenyou do depict them, just allow the eye to follow the tree trunks or branches just a short distanceand then slow down the quick eye flow by having the tree limb go under the foliage once again. Thereason for this is that any line becomes a visual path and the idea is to move the viewer slowly inthe painting.55
Change language