Australian How to Paint

Natural Beauty

Imogen Alexander captures the wondrous atmosphere when the sunlight illuminate­s the strength and beauty of the tall gums on a misty morning.

- By Imogen Alexander

STEP ONE

Working from several reference photograph­s I decide to paint a dry sclerophyl­l forest scene. I want to create a painting that captures the strength and beauty of tall gums and the atmosphere of a forest on a misty morning with the sunlight illuminati­ng the trees. The scene I am painting is derived from bushland I am very familiar with – in the Brookfield area in South East Queensland area where I grew up and still visit frequently. I have taken many photograph­s of the area that I use as reference.

Working from the photograph­s, my memory and my imaginatio­n I decide on the compositio­n for the work and paint directly on to the canvas. I select a simple palette as the colours at this time of the day are muted and subtle and there are few shadows. I keep a mental note of my colour mixes as I progress so I can accurately

match the colours if I need more of the same colour later. I start by painting the background, covering the whole canvas in light blue. I add a small amount of lavender – blending the two colours together to create interest and atmosphere. I use a very light Burnt Umber wash to paint an impression of far background trees and foliage.

STEP TWO

At this stage I add some middle ground trees. An impression of middle ground is all that is needed at this early stage. To make the trees straight I use two strips of masking tape for the sides of each tree as a guide and paint in between them using Gold. I then add Burnt Umber and Ivory Black to add contrast. When this has dried a little I remove the masking tape.

STEP THREE

At this stage I begin to work on the foreground trees. Again I use masking tape to keep the trees straight. First I paint the trees Gold, then overlay some parts with Burnt Umber and Ivory black. I select gold to capture an impression of the sunlight illuminati­ng the trees. I study the reference photograph­s and then start to create the texture of the bark and trunks.

 ?? ?? FINAL STEP
FINAL STEP
 ?? ?? STEP ONE STEP TWO
STEP THREE
STEP ONE STEP TWO STEP THREE

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