![]() ![]() Paint the closer mountains with a little more texture. Always make sure the previous layers are dry before adding the next layer.Īs you paint the closer mountains, adjust the mixture by gradually adding small amounts of yellow. Now it’s time to paint the next mountains, here I’m using blue-green by adding a touch of Cadmium Yellow to Prussian blue. I used the same gray mixture as the sky, however, more saturated. Let the sky dry, then paint the first layer of the farthest mountain. Paint the sky darker at the top and lighter towards the horizon. ![]() Start by wetting the sky area with clean water and then paint in uneven strokes of dark gray. Closer mountains: Yellow Ochre Step by step tutorial Dark Green: Prussian blue + Cadmium Yellow + Paynes Gray (small touch)ĥ. Mountains: Prussian blue + Cadmium yellowĤ. Light Gray: Cobalt blue + Burnt Sienna + Rose madder (small touch)Ģ. The closer the mountains are in perspective, the more detailed they tend to be. In the exercise below, you can see how I’ve painted the mountain farthest away the same color as the sky.Ģ. The farther away the mountains are the lighter they should be. There are two important factors when it comes to painting mountains in the distance:ġ. I’m actually pretty happy with this although I might just tweak the foreground values a little tomorrow to create more of a lead in.6.1 Share this: Mountains in the distance Final Thoughts on the Mountain Landscape Watercolor Painting As we wanted the most contrast here we also left little sparkles of white paper showing through here and there. These were put in very broadly with only a few strokes. The final things we put were the boats and poles at the center of interest. Don’t overdo it though – it can look a little gimmicky if overdone. They leave a mottled effect on the surface when they dry which is a really good way to add some texture. We also used the spray bottle to lightly add in some water drops. ![]() Like the mountains we varied the value and color a little to show some lumps and bumps and tufts. Even if we don’t want to paint every blade of grass (which we definitely don’t) we needed to put some variation in there. It’s closer to us so we should be able to see a bit more detail. The foreground also needed a little bit more interest. The Foreground Needs Stronger Variation and Texture The final effect is slightly shimmering which I like. We also varied the color slightly by dropping in slightly different hues. ![]() For the mountains we varied the value with water to show some slight undulations in the terrain. For the sky we added in some clouds and softened the edges using a damp brush. So we added in slight value variations in the sky and mountains. But if we’d left it too even there wouldn’t be much interesting to look at. Light for the sky and water, mid-tones for the foreground, and darks for the boats and poles. When it came to actually painting we concentrated on getting each of the big shapes the right value. That way things are held together and don’t look too separate Texture and Values Add Interest to the Landscape Painting And the poles themselves provide a nice connection point from the foreground to the background. The boats and the wooden poles give the viewer something to look at but don’t draw too much attention away from the rest of the picture. Another positive for this photo is that it had a really good well-defined center of interest. ![]()
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