When I'm painting by myself generally I have headphones on really, loud music
and a vodka soda.
Today I wanted to create sort of landscape but something more
contemporary a little bit modern almost with an ombre effect and it's really
really simple. So the first thing we're gonna start with is our large canvas now
this canvas is a 2 by 3 foot I'm you get them pre-stretched at any art supply store
you can go as large or as small as you want for this project. Then we're ready
to draw on our landscape and again with this you got to think of rolling hills
and we don't want to be perfect, you don't want to be exact. With your pencil
we're gonna just start to very roughly figure out where our trees are gonna go
and you can see here these don't look like trees they don't look like anything
they're just giving us a rough idea of where maybe that hill might be and I
think the less precise you were the better it's gonna be. Be really, really
jagged about it and here would just keep some hills going in there maybe and
they're gonna be lightened out and then maybe here in the foreground there'll be
some tolerance. And again this is only a suggestion that we're doing we're not
actually maybe even gonna follow this we could do something completely different
but at least it's gonna sort of set the tone for where we want to go.
So now we need to mix our ink. We're gonna be using a series of inks to
create almost like a dark dark green we want like
almost an indigo green and the reason we want to use the ink is because we're
gonna apply a lot of water and we're gonna be doing a lot of ombre effects
and we want to build up layers instead of like acrylic paint where you paint it
and it's opaque. We want things to be really, really translucent and add layers
and you'll see as we kind of go along how we're gonna add layers and take
layers back. So I'm mixing a green, a turquoise, I'm putting a few shots
of burnt umber in and maybe a few hits of black. And what I'm gonna do is I'm
gonna create our master jar if you will of the darkest colour and then we can
work back from there. So I would say probably we're gonna need but a third of
a cup or so, so that we're gonna have enough and then again we want to keep
testing it for the right colour.
Visualize sort of misty mountains although that's not a colour we just sort
of made that up. Yeah see there's sort of a lot of blue in there I think we might be
good to go. So I'm here, we're gonna need some rags, some water bottles. So what
we're gonna do first is up here we're just gonna apply a really light light
light light green, we're almost going to activate the canvas so it looks like the
hills on the furthest, the furthest distance. So we don't really want
anything too dark and if it gets too dark then by all means we can just start
brushing it off. So the background, the the furthest sort of sky in the distance,
as you can see it's just literally scrubbing in the ink and then scrubbing
it off with a towel. We almost don't want any colour in the back but we don't want
just sort of a blank white canvas so and it's this part here you don't have to be
by any means perfect about it.
Cool okay now we can get into our um into our first sort of I guess tree line
sort of alley here so from this we're gonna get a thinner brush when you go by
your brushes make sure that your brushes are are stiff enough and they're not too
soft cuz the softer the brush is just gonna
sort of give us muted trees we still want to have a nice crisp line so get
these different ones again they're really inexpensive like two bucks for a
good brush like that so what we want to do is just we just want to get a little
bit of dimension here again you got to think cuz it's we're gonna do the ombre
right so it's gonna be sort of the tones of one color so this is our lightest
color and then we're gonna slowly start to add depth this being sort of the
darkest color down here so this we want to be really really light and again we
sort of want trees so our trees aren't there sort of evergreen trees so they
have little Peaks that kind of go up and little zigzag things and again we really
don't have to be perfect about it
and again you can you can hear it on the canvas it's it's a really stiff brush
and you want to almost scrub it in and then we're the were the hills sort of
coming what we're gonna do is we're gonna then just take it and we're going
to soften that and bring it down now with this we can always activate it with
water and because the ink will never fully stay in the canvas you can see
here if there's a portion you don't like you can literally just erase it so as
the ink is still wet and active we can really push it around a lot so again
this whole thing's supposed to be like misty and moody so it doesn't have to be
perfect off the top again this like a modern interpretation of of this so
don't think something's right or wrong because at this point I don't know
what's right or wrong with it you just keep it moving
I like this kind of painting because to be honest with you the nice thing is
that there's no real end result it's just sort of what happens happens and
again this is gonna be your interpretation of it right so it doesn't
have people don't have to say oh hey that looks like a flower pot or hey that
looks like a building you know this is sort of our interpretation of of a
landscape so I think if we just kind of get the idea of rolling hills it's it's
going to come across and if it looks like something else and tell everyone
it's something else with this kind of thing - you might want to even have as
reference picture of say rolling hills or something so you can kind of get the
feeling of where you want to go in different levels and valleys that might
be helpful
when I was a little kid my room was always the worst
anytime company came over my mom had to always run up and close my door because
my floor was full of paint spills and glue and she would just leave it because
she'd try and clean it up and I would just come back the next day and just
bill another tin of paint so I really had a horrible disgusting broom but I
absolutely loved it because it was like it was a total free for all and even
washing my brushes on clothes I find it quicker when you're painting
instead of trying to look for a rag just make sure you're just wearing dirty
clothes so that you can just clean your brushes it's a lot quicker
I find than reaching for a rag and don't worry about it your hands are going to
get dirty but that's part of the passion
with this process here this is sort of where you are going to kind of keep
going back and forth the back and forth and build up those intricate layers I
kind of find this therapeutic because it just it's just sort of it's really soft
and you're just kind of almost doing same repetitive motions and you don't
really have to think about anything I
love painting at night I think it's kind of cool when you're painting at night
everyone else is asleep and you're kind of doing your thing it's almost
therapeutic in a sense just trying to find out now where the next level is
gonna come from possibly in here so what I could even do is maybe I can just with
a quick little line maybe come into here so maybe I'll do it sort of a tree-lined
little Hill coming in here
you can see everything almost has the same tone right now which is cool but at
least we're kind of getting levels of valleys of things and then we can go
back into it and darken the foreground and give it some sort of dimension this
the this is the kind of painting as well because we're just using one color ink
and we're just on a rock canvas you can leave this for a day or you know it's
not something that you have to commit yourself to once you started you can
sort of go away leave it if you get frustrated and then two days later come
back or you know if you're cooking dinner and you're in the middle of
something just activate it again with water and then scrub it out and even if
you really don't like something just spray it down and get a rag or get a
stiff brush like one of these just paint or brushes and then just scrub it out so
don't feel like you've ever sort of you got to stop or you ruin something or you
can't go backwards because like I said we're on that prime canvas we can always
go back into it a lot of times for me the paintings there they're kind of
never done and that's the cool thing you keep going back into it yeah as you get
towards the bottom you kind of sort of find your last your your foreground I
should say and I kind of feel now that it's time to maybe bringing some some of
the depth of color and what I've done is I've gone back to my original jar of ink
the really intense one and then go back into it again you can see how little ink
we've used on this because you you don't need a lot
the cool thing that this is when you're because we're painting a landscape and
we're talking about horizon so when you're spraying at the natural gravity
of the water pulling it down kind of gives you this feeling of like trees so
that kind of that vertical pull is kind of nice the stuff that using the
foreground here this will primarily be the darkest color because you kind of
want all the darker colors to sort of advance it's slowly going back into like
this white of mist and we want everything to be kind of misty that's
where you got to kind of take your time and just kind of go back and forth and
use the spray bottle to kind of diffuse things because we don't really we want
all blurred edges and blurred lines nothing too obvious because again it's
sort of a modern version of our contemporary version of landscape as
opposed to traditional landscapes with details and trees and clouds and
babbling brooks the thing with this painting is once you sort of have your
landscape sort of figured it you really want to kind of keep going back into it
back into it back for the back forth we want to sort of build up slowly if we
went right into this with a dark color it's harder to go back it's easier to
sort of build so that's what we're gonna do for this is layer the like the color
on top of each other this painting kind of reminds me of when I was in the
Golden Triangle in Thailand in Chiang Mai there was sort of these ruling hills
in every single morning it was thick thick jungle and you just sort of had
these misty sort of shapes and it kind of had this kind of feeling and it was
just sort of these greens and blues and grays and it was really quite quite
haunting it was fantastic and it was just basically the steam of the forest
coming off as the Sun was rising so that's the kind of the feeling that we
want I could never really pick out hey that's a tree or that so that it was
just sort of these shapes and these interpretations of hills and I think
that's sort of where we want to go with this just kind of feeling now that it's
feeling a bit flat but I think maybe I want a deeper or a different shade of
this same color so I may be mixing up some colors I'm not sure yeah and that's
the whole thing when you're painting is just you're exploring it with it you
kind of see it's really cool you can kind of create um awesome texture with
just a rag by spraying water on it and then it kind of just does its own thing
as you're sort of painting and working it if you add something in and now to
affecting everything else was like a domino effect it's like cooking right
it's like a recipe oh look added too much salt so in an owwie to adjust and
add potatoes to take away the salt so this is same kind of thing so this was
you maybe add a layer and it's feeling a little dark now I've got a darken this
or I've got a light in that or lighten that again don't sort of think in your
head that once it's done it's done because it's not it's a it's gonna keep
moving that's why I keep going all over the place because certain things are
reacting in different ways and sort of pushing me in different directions
that's why I like doing this on on canvas as opposed to trying to do this
on paper we need to do in watercolor on paper or doing it using inks inks on
paper it's a lot more permanent because the paper that using is a rag paper and
it's soaked in the ink immediately and it's harder to sort of go back where is
because this is a gesso canvas the ink is still kind of just floating on the
top it never released soaks in to the canvas so you're sort of allowed to sort
of go back and forth a lot more you could certainly try this on paper it
would be I just think mi is a little different journey a lot more difficult
with this type of painting you can choose any color you could do this and
blues and grays and me purples and Mo's or whatever because um again this sort
of like rolling landscape on different weather conditions and light conditions
could be virtually any color so don't feel that you have to go into these
greens the one thing you don't want to do is you don't want to match your
colors to your sofa so I'm not gonna buy a green sofa to pick up on these colors
art should complement your space and tell a story but it doesn't necessarily
and I don't really feel that it needs to match your space that's why you have
fabrics in wall color that's what they do their job is to tie the room together
art is to sort of stand out and complement a space you can use these
them big brushes here which are great it's almost dry really really lightly
damp to sort of scrub and blend a lot of times when you use the mist bottle you
start to get a lot of job so we don't want to soak the canvas but then there
are just some areas that look a bit scrubby and we want to just sort of
soften the mouth
people always get intimidated by um by painting and sort of never once seen the
white canvas and with the type of brushes and you know and you don't need
to never once spend a lot of money canvases pre-stretch canvases are quite
affordable and the brushes in the materials are using the ink is just a
few dollars a bottle and these are just regular house paint brushes and these
small ones that I get from the art supply store are just synthetic stiff
brushes by the end by no means you know expensive squirrel hair and things like
that I mean I've got them specialty brushes like this one here which is a
badger hair brush which is quite expensive but it's used for blending and
softening which we certainly don't need on this because we're just using water
but these are more for faux finishes that creating marble so I mean if you
are gonna invest in great brushes you take care of them any use them for the
purpose that they're intended to I also have some really expensive soft brushes
like these ones which are all real fur so I'm certainly not going to scrub into
a painting I'm just gonna damage and crack all the bristles so for this sort
of scrubby work that I call it I'm just gonna use synthetic brushes and they're
gonna wear down they're gonna break down and when they do you toss them and you
get new and so you don't have to be intimidated by getting really expensive
materials so at the bottom here this is going to be probably the deepest of
color and you can kind of see when the inks would have builds up it almost goes
to a black which is good so again you can see I've only used this one color
but the layers of the color get sort of these different depths here
so you can go as light as white right down to almost pure black so that's why
we don't want to go too dark too fast it's the layering up that's gonna give
us dimension and depth don't ever think anything second do you think anything's
too precious it's ruined because it should be always evolving and don't
think oh that's perfect I shouldn't touch it and if you touch it then you
think oh I destroyed it you didn't you can always do it again
so never look at a piece of work that you're creating and think it's lack of
better terms I just call it precious because it should never be precious it
should be it's like a journey I would say if you're starting out and doing
this this type of project it is probably a great way to go because it's so
forgiving and you can sort of layer it up if you're working in acrylics it's
there opaque and thick and you sort of have to have sort of more of a more of a
direction of where you're going to go it's harder so to go back with acrylics
but this kind of thing the building up and taking off or building up and taking
off again should be it shouldn't be a thought-out thing it should be a
therapeutic thing to me this is one of those things you get to shut your brain
off and just kind of go like I said having the stimulation of music you know
having in your headphones can sort of put you in a certain low mood and and
you shouldn't really be thinking about it I should be thinking about it's like
hills and trees and hills and trees don't think about work and what you have
to do don't think about you got to pick up the kids or you haven't made dinner
you just kind of get lost in it if they're so happy with the depth like in
here there's sort of a nice sort of depth and sort of layering in here
that's what I'm just going to go back into it now with some really dark with
the with the ink and that's some the the full dilution of the ink so it's uh
that's going to be our deepest color and then it's kind of let that sit for a
minute I kind of think some of these the hills in the background here cantenna
top out a little bit so we can just really lightly kind of go back in and
scrub out some of these trees
so now what I think I'm gonna do is some there's some areas that I'm happy with
and some that I'm not I find this Ridge to be a bit uncomfortable but towards
the bottom here and liking the depth so we're gonna go back in with some of the
darkest here and then maybe lighten up some of these areas here or kind of tidy
them up or fade them out even I'm kind of thinking in here it's feeling a bit
my sort of monotone and sort of muddy so maybe if we go in with a bit of dark ink
it'll kind of just push it a bit and kind of give it a little bit more depth
like there's something happening back there and again it's just sort of the
the expression of something so a few little scrubs of dark paint we'll just
all of a sudden push that into the into the background so the whole idea and
where we're trying to go with this is that we're trying to create that ombre
kind of feel where the background here is almost white and then as we slowly go
into the foreground here it's literally almost black so that's gonna kind of
give us some depth and even within some of these little spots we can add some
darker tones and that's going to kind of give us some sort of sense of dimension
to the to the piece
okay so there we go I think I'm kind of happy with
Brothers's now I think we have the levels and the layers which is kind of
nice with the ombre to me it kind of looks like some misty kind of Hills we
can then get a small brush and in the corner you can sign it
perfect okay let's hang it up
so there we go I hope inspired you to get up and start
painting again you should never really be intimidated it's just canvas and ink
and your own imagination
you
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