How to paint Plein Air, Alla Prima, Oil Painting by Stefan Baumann

How to paint Plein Air, Alla Prima, Oil Painting by Stefan Baumann


Well we finally chosen a place to paint this particular area struck be the
moment I saw it’s filled with beautiful nipples yellows Alizarin Crimson this area is called
twenty Mule Team and we’ll get into that a little
bit later but let’s go ahead and get started I’m gonna take burnt sienna cobalt
blue and squeeze it on my pallet What I’m going to first do is is cut my canvas into three sections and what I want is the main composition to be in the center part in my painting I see little pathway okay what I’m doing is an now getting a
little bit more of a dynamic sketch an little bit more
positive with harder lines as I get into the corner my
painting I wanna apply a little bit more cobalt
blue in the corner I want to darkened the corners of my painting and
then more white as I get further than now notice Im just scrubbing my color in what we want to do right now is want to
capture all the little footnotes up where the highlight is at
this very moment throughout the pain in the light is gonna
be changing and it would be almost impossible for us
to to make all those changes as the afternoon wears
on what I wanted to someone put some footnotes right where the light is at
this very moment now when I’m going to do them going to
notice where these highlights are in my composition and I’m just gonna
place them in and scribble very quickly okay these long lines of
light I’m bouncing around and I’m just giving myself an idea where the light is. What I
want to do right now is actually start on the main peak right at this very moment the main peak has
beautiful cast of cerulean, blue cobalt blue a little
bit of alizarin crimson kind of a purplish tone and I want to try
to get that in my painting and I’m gonna do that by
taking cobalt blue and white and alizarin crimson I’m gonna very carefully at this point start
laying in the shadow sat on my mountain at this point we are not going to waste
one brushstroke every brush truck counts we’re past the
sketching phase and we’re now in the painting phase so
what we’re doing is we’re taking a mixture of Blue and yellow I’m and a lot a white and
creating a greenish tone all of these different tones makeup Death Valley. Now I’m gonna take burnt sienna cobalt blue these are the same colors that are used
in the background mountains and I’m going to place a little
shadows every one of these little tiny
highlights has to have a shadow and it’s important to make everyone in the shapes a little bit
different. At this point I’m gonna switch to larger brush and we’re gonna start painting in the bushes. We’re going to take cobalt blue in a little bit of yellow ocher and this
is a very dry brush compared to what we were using before probably one yellow ocher me if you
notice I’m hitting my brush into my pallet I’m actually trying to break the hairs
up so that I can create bushes with this brush now we’re going to take this color and
we’re gonna keep in mind that the bushes in the distance or smaller this is just like the rocks things that get feather away from you they
get smaller Now as the bushes come closer they need to get a larger now we’re going to put a little bit a
highlight on. What I’ve done as I mixed little bit more white and this
color and we’re just gonna put a little light on the topic these bushes a little bit of light we can also pick up the palette knife if you can look at the bush on the right, you can
scrape in few little twigs…

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