On the final day of our Negative Painting Workshop
, we were supposed to use the techniques from the previous two days to create a landscape. This too is based upon one of the exercises in Linda Kemp's book. Landscapes are not one of my fortes so this is another painting that didn't ring my chimes, but I promised to show you what we did, so here it is.
Arches 140 lb. coldpressed
Daler-Rowney Alizarin Crimson; Sennelier Neutral Tint; Daniel Smith Cerulean Blue, Raw Sienna; Da Vinci Burnt Sienna.
Tape your paper down to the plexiglass sheet. Mix a thin wash of raw sienna and apply it all over the paper starting at the bottom and brushing up toward the top in vertical, diagonal strokes. Allow the paper to dry between each application of paint in the following steps.
Using burnt sienna, more raw sienna, cerulean blue, and alizarin crimson, negatively paint the tops of tree shapes 3 or 4 inches up from the bottom, drawing your brush upward to fade the color. You can spritz droplets of water in various areas to create texture as you add these paints.
Repeat these bands of color going higher each time and varying the width and color of the bands. Pull the paints toward the top. Your mixes will get darker as you go over the layers already on the page.
Mix a dark mixture of neutral tint tempered with alizarin crimson into a purplish tone and paint the trunks of the trees in several of your areas using the same technique as in day 2.
Use the same body color to add texture and shape to the tree tops and bush areas.
Try to direct the viewer's eye toward your center of interest with details and brighter colors.
Adjust values, but try not to make it look realistic. Resist the urge to come in and add detail with positive brush strokes. This type of painting should be looser and more painterly than realistic.
I hope you've enjoyed going along on my workshop excursion. Do give this technique a try. It really makes your brain work in a different way and is a great way to break out of a rut.
My painting is not so vivid IRL, the reds especially are softer than they look here.