By Ted Kautzky
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Extra info for Painting Trees and Landscapes in Watercolor
Example text
This is especially true in the spacing and the rhythm of their is shadow into a vertical movements. Another important consideration may be warm or cool, de- pending on the object which of the trees, the variety of their scale, to provide an "optical pathway" for the area. this a brushful of pigment with little the glittering light passages. the woods looking out (as pictured in In this first illustration above) or, from the in first the background In the latter the close-up of the tree on the right; hill, I left cate the sunlit 24 first; the middleground; and finally, Returning to the picture, notice satura- the foreground were painted next, mean picture the darkest values illustration at the top of the next page.
A small round brush was used in the lower part of number stroke, lightly touching the surface with To model to indicate bare limbs. wet brush little birch the top stroke is shown very useful in in number 2 palm trees. square-end brush as smooth and beech or is tree to trunk like indicate its dipped into the pigment so that the stroke at look like the painting fine willow branches, hanging moss, and the foliage of a much pigment. three-dimensional forms, one end of the 1 The next wetness and first This gives the Working with the shown, and using tion from the one when applied will in plate number 5.
With age, its crown is broad and open with a few large limbs, and of the barn around the bases. many dry, again brushed horizontal branches and flexible twigs. Its paper-like bark has a chalk y- horizontal textures and dark scars. the opposite page, I have pictured the birch in several aspects, but in each case I have exploited its light I in I the dark background When painted the trunks individually by wetting each trunk area with water and modeling the rounded surface with a moist brush loaded with pigment — working first on the right or shadow- white surface, broken with irregular, On Details willow branches on page 31.