30 ADVANCED UNDERPAINTING 2 of 5

29 ADVANCED UNDERPAINTING 1 of 5

28 The color of trees

THERE are very few things I like to paint more than trees. There is something just as mysterious and inviting about a cluster of trees as there is about a lone tree. It might be subtle value shifts, one of the hallmarks of true beauty, that intrigue me. But the same reasons that make me want to paint trees, their mystery and majesty, also makes them extremely difficult to paint.

The first and most important aspect of a tree, easy to overlook in bright glare, is that the main mass of a tree is basically one value. This is a hard to absorb because when you're looking at a tree it appears as though every value is represented in its form. But take the nine value grayscale outside and carefully note the values. You will be surprised at the closeness of the value range. The light and dark are often multiple variations of one basic value. Many people make the mistake of painting the foliage too light on one side. Or worse painting dabs of light all over the illuminated foliage. This gives a spotty, fractured look to what should read as one large shape.

The second most important aspect of a tree is not the native color of the species nor the texture of the leaves and bark but rather the color of the light and the quality of the air that surrounds the tree. All trees project themselves into the bluish envelope of the atmosphere. So as a tree protrudes into the sky it will pick up more blue and its edges will turn bluer yet. At the base of the tree the reflected light from the ground will be warm. This warmth will be accentuated at the center of the tree where the light will get warmer (and darker) as it is reflected off of the bark and undersides of the leaves or needles.

Every tree should be treated as an individual. Masses of trees, whose values are so similar they read from a distance as one large value zone, can be treated as a group. But it is a grave mistake to paint any tree using a formula. That will lead to a mannered way of painting lacking the originality and surprise so necessary to great painting. I mention these tips on painting trees as a means to observe what you may now be failing to observe, the flurry of values and hues that convey the beauty of trees.

Brad Teare © 2009

27 The sketch 3 of 3

THE final video about making a preparatory sketch.

26 The sketch 2 of 3

25 The sketch 1 of 3

24 The sketch

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PAINTING can be a complicated process with many steps leading to a great painting. One important step for most painters is the preliminary sketch. Some of my favorite painters used a preliminary sketch so I followed their footsteps even though I didn’t fully understand why. There were times when I felt the sketch was repetitive and sapped energy from the finished work. But I persisted and finally came to realize the importance of this step.

Basically in the sketching phase you should be exploring options and clarifying your thinking. Thumbnails are best for exploring options as they are fast. Sometimes I get caught up in detail and the small size of a thumbnail sketch helps me keep things simple. Do as many sketches as you need to resolve the questions you have. One reason I didn’t know the uses of a good sketch was I was unaware of which qualities of a sketch would translate into a good painting. Occasionally you will fall in love with a complex, linear sketch that won’t lead to a good painting. The act of discernment will improve as you practice the process.

If you make a larger sketch be sure not to invest too much time or make it too precious. You want a working document that you can change without reservation. Remember to start with generalities and work toward details. I like to stop short of including too many details as I find that finishing the sketch exhausts my enthusiasm and I want to preserve as much spontaneity as possible.

As you practice this aspect of painting you will find that getting a useful sketch will be a great help in achieving the success you desire.

Brad Teare © 2009

23 Using a full value underpainting 2 of 2

21 Using a full value underpainting 1 of 2

20 Using a full value underpainting

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SOME may wonder why I bother to use a full-color, full-value under painting. And the answer is I usually don't. But when a complex subject presents itself and demands to be painted with an accuracy that challenges other techniques I often resort to this method.

The main advantage is it gives me expanded preparation time. After I draw the scene onto my canvas I then begin to slowly tint the canvas with pigment. I use a lot of mineral spirits at this point. The paint dries quickly so I can correct color and value during the next painting session by loosely painting over the areas needing correction. All I worry about is hue and value. If I make mistakes and paint a distant mesa too dark I can scumble a lighter, bluer color over the top and slowly refine the color and value. As I do this I find that the quality of the paint surface becomes busy and blotchy, especially from close up. From a distance this painting technique can look quite nice. When the painting looks good from a distance you know that your underpainting is done and you can proceed to the next phase.

I now let the thin underpainting dry completely. I then oil up the canvas using a variety of oils or putties (in the case of the desert scene I used Venetian medium from Natural Pigments). I then mix up a series of pigments and closely match the values to the canvas surface. I ensure correct values by holding up the brush with a bit of paint on the tip. In this way I can match value and hue with extreme accuracy. I mix up rich, thick, strokes of broken color and apply this color using the methods described in earlier videos. The thickness of the Venetian medium allows me to apply thicker paint. I like a medium that has a lot of body that pulls the paint off my brush.

For those who wonder if this technique is worth the effort I can only say that with some subjects this method will ensure success when others fail. I find that as long as I don't get impatient the process is extremely enjoyable. This method helps ensure accurate color and value and provides a safety net in the challenging and often exasperating world of thick paint.

Brad Teare © 2009