The colours of Summer, chlorophyll in all its variations competing for sunlight.
To emphasise the Summer green and produce a glow of colour, you will need plenty of shadow areas. At a certain point in this painting, it looked like a disastrous black smudge.
With a limited palette of 3 colours, the lighter colours painted on top of the wet shadow colour were essentially the same colours with white added. This gives a vibrant range of sun-lit colours. Remember, the fewer the number of colours in a mix, the higher the chroma. My current palette limits this to 3.
The less highlight colour added the more dramatic the effect. Generally less is better. Painting highlights and sun-lit areas of an oil painting landscape is difficult as it goes against our instinctive inclination to draw shadows and leave lit areas untouched, as with watercolours.
Here’s the video, see you soon.
Summer is late this year. This scene is how I presume the landscape will be in a few weeks.
There are different ranges of colours I use for different moods or conditions in the landscape. My ranges are composed of 3 primary colours with the occasional addition of a secondary. This secondary is usually green, as this colour is the most used in landscape and sometimes the yellow and blue do not produce a good green. For example, in winter landscapes I will often use Yellow Ochre and Cerulean Blue. The resultant green from this mix is OK in dull winter paintings (here). Using these colours and also having the colours of spring or summer would require a ‘tube’ green to be added to the mix.
In this painting I used a combination of nice primary colours – Indian Yellow, Permanent Rose & Ultramarine Blue. The resultant mixes produced ‘Constable’ colours, deep rich purple shadows and strong greens which keep their vibrance when lightened with white. In my current painting method, when I use these 3 colours I try and include each of the colours in every mix. So the green made from the blue and yellow, will have a little red included or the purple made from the red and blue, will have a little yellow added. Sometimes the addition of the third colour is from the under layer as in the sky in this painting (yellow). Or if I plan the succession of colour mixes, what remains on the brush of the previous colour is enough to add to the new mix. That is why I use so few brushes and don’t have to clean them too often.
Here’s the video of the process. See you soon.