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Geoff Kersey Watercolour Technique ⎮Summer and Autumn Trees⎮Watercolour Landscape

May 30, 2021
Well, we've done a


s section on winter


, so we'll continue with a symmetry and a fall tree. Basically, I will use the dry brush


. This is a good one for using the dry brush technique. So they were able to get that hit and miss effect where we have spaces in the foliage where you can see the branches. So I just have a couple of rough drawings without much detail because it's all about the paint on this fabric, you decide where to put the branches and how many to put, etc., when you have some paint, I have a number 10 brush, so we'll mix a little color for this. for the


tree, so we want a nice bright green color combination, and I've used it over and over again in paintings, not too thin and not too watery, it's aureoline and cobalt blue and a little bit of raw sienna so that it is not such. a lime green just makes it a little more olive and then we want a dark green and for that one I'm going to take our eel again and this time for the ultramarine blue, which gets a lot darker because the ultramarine is darker. blue than cobalt, but it actually looks too blue and a good option to calm it down and darken it at the same time is a bit of burnt sienna, so how you place the lighter green and the darker green depends on the direction of light, so let's imagine that for these two examples we have the light coming from the right and I have a number 10 brush and obviously the size of brush that you would use depending on the size of this tree in Europe. on the particular painting you are doing, but for this type of stud it is about three and a half inches tall and about four inches wide, so a number 10 is ideal again, this technique requires some rough paper and this is 300lb ash, but Like I said before, that's the last paper that's not rough, it's got a really good texture and I have my thumb on one side of the handle and four fingers on the other side so I can get the flat part of the brush on the paper instead of rubbing with the tip and the shape is more or less the shape is more or less a semicircle, so let's let the foliage should be more broken towards the edge of the tree and denser towards the center. of it so you can press a little harder deposit more paint in the center and let your brush run out, lower the paint a little as you get closer to the edge and that's the basic shape of the tree, something you want to avoid.
geoff kersey watercolour technique summer and autumn trees watercolour landscape
Check this out when I'm teaching this technique in a live situation, something that happens a lot is that people dabble with the brush like that and print with it, whereas it's more of a motion if you like to slide across the paper almost in a shape. random. To get that tree shape and then I'm going to get the dark green, you want to place the dark green while the light green is still wet and we can let it float to get the darker color towards the left side. away from the light and then lighten, lighten the stroke when you get over that side so there's more darkness on the left and I can strengthen the darkness a little bit more even using a dry Bush method to strengthen it again a little more. emphasizing that to the left because the lights are coming from the right you can put a little bit of darkness underneath you, whichever side you are on is a little bit in shadow there.
geoff kersey watercolour technique summer and autumn trees watercolour landscape

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geoff kersey watercolour technique summer and autumn trees watercolour landscape...

I can get a smaller brush now I have a number two brush. Make sure it's clean and you can enhance it with a few extra bits of dark green. Now that it's blended in pretty well, in fact, sometimes you can encourage it to blend back into the lighter green, but they really need it. I think it's pretty mixed. Well, keep in mind that you have to do it quickly after choosing the dark green while the light green is still wet so that they don't come as two halves to a tree and the emerging mix, so it is essential to have to call a mix and go before you start so it's a matter of planning, you know what colors you're going to need, sometimes a little touch of lemon will help, and this is a clean lemon yellow, this will help make the light side even lighter, but maybe fuelie picking some leaves that are trapping the bleach and this exaggerated sivan moss or the difference between the light side of the tree and the door outside and something else to observe besides this that is very important is that your dark green still has to have the light green underneath, if you paint the light side with light green and the dark side with dark green, which you might think is the way to do it, then it will actually look like it changes color instead of getting denser and darker because it doesn't it gets sunlight so you need that light green mostly and then you put the dark green on that dark side, okay maybe I could fiddle a little bit now, but maybe I could strengthen that dark side a little bit more and under there now you can actually move on to the next stage without waiting for it to dry and I'm going to put some light on the trunk of the tree, I'm going to take a little I'll think about a little bit of raw sienna with a touch of bird sienna and I also want some dark brown for the branches and the shadowed area of ​​the trunk which is burnt sienna and ultramarine blue, so I did some clean weaving. the brush and number two brushes are ideal for this, but if you were painting a larger tree you would probably want number four, okay, and then I'm painting, I'm painting, that light on the drum sounds like a helicopter has passed by on.
geoff kersey watercolour technique summer and autumn trees watercolour landscape
Okay, now again, keep in mind where the lights are coming from, it's coming from the right, so the left part of the trunk is in shadow, other than here where you start to lose the trunk in the foliage, everything is in shadow . Well, sometimes. you may need to just throw your brush in and encourage them to blend in and then when you get that branch again, they see it when we lose sight of it in the foliage, it gets darker and then when you get little flashes of the foliage. and these are differences in everything, every time you paint it it will be different.
geoff kersey watercolour technique summer and autumn trees watercolour landscape
Now you want to look for places where there is enough space in the foliage so that you can see some detail of the branches. Now, if the foliage is still wet, that can help. actually because it means that this will soften on the wet parts but you will get a harder edge to represent the branch where you cross on the dry paper and don't overdo it, it has to just be small areas where the branches are glimpsed rather than if you do too many branches that it can look like you've painted a winter tree with a


one behind it, so it has to be every once in a while where you might catch a glimpse of a branch and then you'd miss it. in the foliage and I would say maybe it's a little bit of blending there and I think of the lemon in the brush where the trunk disappears into the vegetation, there it looks a little like the trunk is in front of it and we need to bring it into the vegetation , a little bit of lemon can help with that and just make it look like it disappears into that foliage, so it's a very similar symmetry, very similar approach with a fall tree but with different colors. so let's get some pretty color for this, I think for the golden side of the tree where the fall colors catch the light, let's put in some oriole and burnt sienna and then for the side that's in the shadow, I think what we want is more brown, so if we take a little bit of burnt sienna with a little bit of ultramarine blue, we're not trying to make a really dark brown or a black, it's probably better. analogy like milk, you're not playing with chocolate that would be a little too dark, more like milk chocolate, and that's bird sienna and a little bit of ultramarine blue again, what you have to get, you have I have to have the colors ready because when I start painting them I have to apply the dark color while the lighter colors are still wet and also in the whole the same thing we did with the green, you need the lighter color over the entire tree and this is how it will look . like a shadowy side on the left instead of just a tree that has changed color, so let's get that nice, rich fall color again.
You'll deposit more paint and as you work towards the edge and your brush dries a little more, you'll more easily achieve that broken foliage, and again, their companies keep the brush moving, dumpster you don't want. being able to see the shape of the brush in the finished painting. I think it's okay. I'm going to use a smaller brush, number six, for the brown, for the darker side of the tree, and let's get right to it, maybe too much. I'll rush there and that's the darker side, no, of course, this dark brown dilutes immediately when it gets to the less dark origin, but that's okay because if you mix it dark enough, you'll have allowed for maybe even a little bit clumsy. , they block a lot of light there.
I wish I had a little more. Let's try something, see if we can remove some, get some more white paper and then dry brush, that's it. that would leave some gaps so you can tell if you catch what's going wrong early enough you usually can't do anything about it. I'm going to do the dark brown now just to emphasize the side that is facing away from the light. On the left side I've made the dark round a little bit stronger adding a more ultramarine touch and then again the bottom is in shadow anyway, whichever side it is on, we'll just blend it a little bit with that number two touch.
Now you can, the same way they did in the last one, with a number two brush. You could use lemon yellow for some highlights, but this time let's try to add some burnt sienna and we can just add some highlights. to that right side maybe to pick out some little leaves and things where the lights catch them maybe a little bit of orange there to mix it up and then I can put a little bit more orange and I can do the same thing now with the dark brown to bring out the darker side. dark and then just travel to dry brush, work with it.
I don't think maybe a touch more of that lemon yellow with burnt sienna. Well, now the same principle applies to the trunk of the tree that we will obtain. a little bit of raw sienna and burnt sienna for the whole truck again, the shade on the trunk should still have that lighter color underneath, you need to mix in a little more dark brown, that's the owner, an ultramarine, so the side dark of the trunk is this. On this left side again, the trunk is completely dark where it disappears under the foliage. The branch has also darkened.
Maybe it's too dark on that, so I can bring a little more life back into it by adding a little bit more of the light color goes a little bit more dark brown and then apply the same. Look for one or two places where you see a bit of branch always supporting the foliage, but it's too obvious that I haven't had as much success with this one in that I don't have as many spaces to see the branches, ooh, but that doesn't particularly matter because, always and when I don't paint them over the foliage, just to get more branches, I would go in there and then. using a little bit of the orange color, let's make it blend in at that point so it really gives the impression that the trunk is disappearing from view in the middle of all that mister, all that foliage, none of that, I think that's okay, like this that we will dry them. and take a look at them, so I hope you get an idea that it's all down to that dry brushstroke and giving it that broken effect that is much sparser and much more broken towards the edge of the tree and denser in the center, which It's like it should be the key to doing that is that when you've loaded your brush, start in the middle and work towards the edge, don't start at the edge because you'll tend to put a big blob on the paper because the brushes have a lot of paint on them and, As you move towards the edge, the brush dries, your marks become a little more discontinuous and allow us to see light through the gaps in the foliage, another tree I come across often. paintings, it's often part of the


is a spruce or fir tree and I think it's worth taking a moment to show you the particular method that I use for that, let's see, we could put one here first of all, let's see a little bit.
Some drawing that I do, I tend to do the minimum of drawing with them and this is not a dry brush technique, it's more of a wet brush technique, but I tend to do the minimum of drawing, just a guide for shaping. and the I do the rest with the pain position now has a good shape because it doesn't taper at the top but it's just barely wide at the bottom, you don't want it to look like a wall with a Christmas tree on it. so a little bit so as not to be too wide at the bottom, but it comes to a point at the top, but that's enough, it's enough to draw now because usually we would do it because we want to wet the background for this, we could also wet it a bit. of blue to make it look like we have the sky behind us, but before we deal with that fact, I'll take the blue first, let's just get some charcoal cut.
The bowl is close, it's a little gray, it has a little gray. that, but okay, okay, the main thing with this is to get a nice deep dark green, so I'm going to take Viridian. I can mix it on top of the previous dark by making that Viridian and then also marinate a lot of ultramarine. In it, a spruce is usually a blue-green to turquoise, although it's just not calm, you know, if it's too strong, so the burnt sienna It is ideal for darkening it. I'm removing that shiny one, the Rhydian, okay,So many people find Viridian to vary.
It's a little tricky, so I use color a lot, but you have to learn to control it, so let's start by wetting the background with a natural sponge over the entire tree and then we'll just paint a wet background. I can use this half inch flat brush, just paint a wet background with a little bit of blue, time shines with Azzam and a lot of water. Time is crucial, you can do it too easily. I know what we're saying. it should work quickly but you can be in too much of a hurry and when you hit that dark green it runs like crazy and disperses too fast it becomes too soft and fuzzy and too light because if the backgrounds are too wet it's like adding water to when you paint it it dilutes it , so you have to have a little patience and I'm starting with a small brush.
Another thing I should mention is that I have seen this many times in workshops where the person mixing it just doesn't work. It's thick enough, it's probably a unique cream consistency, it's quite a thick paint, quite strong, now I'm seeing that it's still glossy, the gloss isn't gone yet, the right time is not when the gloss is gone. nothing because you're probably driving at the right time just when the glow starts to fade it could be now and I started with the small brush again, I started in the center of the tree and work my way out because this is the center of the The tree is denser so that if it spreads too quickly at first at least you're messing up the tree because it's still in the center where it's densest anyway so let's try to make it look good and I just found out that it was the small one.
If you think of a U shape like that, because the branches rise up towards the light, that will usually work fine, so let's go and then it's just a case of thinning your mark, not painting a triangle on top. just thin out the marks until you put the smallest dot on top. Now this brush is probably too thin to do the whole tree. Another thing to keep in mind is to leave plenty of spaces between the pieces of foliage because if it doesn't get too heavy and thick, it just turns into a big dark green triangle.
I think we'll use a little bit bigger brush now. I have a number six here, I loaded it with paint, but it still has a good point. although I can make larger marks with denser lower foliage, I can still get them pretty good on the edge, now I'm not going to go all the way to the ground, we'll leave a little gap where I can see that the trunk doesn't make it too symmetrical either. Can you see how I could go that far with a branch not that far on that spot, but on the next branch I'll go a little further on that side unless So, in general, it balances without looking for a perfectly symmetrical shape.
Look at the spaces. Sometimes look at the spaces between the foliage also very regularly, but there is a basic way. Maybe I don't have enough foliage further down, making it a. a little bit denser, there's a lot of dark green, don't be afraid of this rich dark green, in fact, maybe now I could go back to number two, which to make sure we have branches towards the edge, the foliage is much thinner and more broken yeah I think it should work fine okay now unlike these


because the whole background is where I can't start painting the trunk and branches because I'll just mess them up and end up with a soft furry mess . so we have to forget about something, but we have to let it dry now, so okay, just to check and make sure that my trunk is still growing through the center of the tree and that it's not like I have. painted that I have tended to move a little to the right so I may have to alter the trunk slightly and bring it towards you, yes bring it to the right like this okay now it will have a light dark side but like the trunks quite narrower, it's not as noticeable, but we still want a little bit of raw sienna with a little bit of burnt sienna and a little bit of deep dark brown, so let's say the lights are coming from the same direction, we put a little bit of raw sienna and sienna burnt and then darkness.
Now, the darkness, if the trunk, like the others, will be completely dark in the area immediately below, where it gets lost in the foliage, and then you can blend a little bit, throw away the clean brush and then it will just be the dark brown, the sienna burned and the overseas. and look for one or two places where you can see the trunk again going up to the middle of the tree, don't paint the whole trunk all the way up because it would look like you were in front of it. so it looks like you're just catching glimpses of it in the irregular spaces in the foliage and it's not just the trunk as well, you might see some branches that support this foliage just popping up, just glimpses of them down probably more noticeable. a little bit lower but again don't get carried away don't get carried away that's probably enough because most of the time the branches will be hidden by the foliage holding it up but I think I think that's a lot of branch work.
I think it works well sometimes if the Foley, if the branches and groups seem to have been added like that to the front, you need to go back, it's not that bad to get away with, but it just happens. You need to go back to the dark green and maybe work a little to dissolve them into the foliage. Well, then that is a spruce or a fir tree.

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