Do not over blend though, the idea is to maintain distinct color units of the rock formation.Wait until close to the end to do finals adjustments on this rocky escarpment. As colors Using only medium greens and grey-green hues, paint in the trees on the far shore: paler and grayer green in the back and darker greens in the front. We’ll also pull out a few smaller branches within the canopy of the tree. In this video I will show you how to draw simple scenery with oil pastels. For example, oil pastels made by Sakura (Cray Pas) behave differently from those made by Sennelier. If I was going for very fine lines, I would not have been able to do it with a dull pencil tip.I wasn’t finding the colors for the footpath that I wanted in my supply of oil pastels sticks, so I used my basic set of This is where the rougher texture of the paper is really helpful!Now is the time to step back and look at the composition from a few feet away and see where adjustments need to be made.I wanted the eye to travel up the footpath into the center area more firmly, so I added darker browns to the path on the edges and created more shrubbery overlap on to the path so that it had a more stepped-into edge instead of a diagonal line.I also added a few darkest darks to the right shadowed shrubbery to create an entrance into the painting, like a doorway.If you are viewing this on your desktop, this is going to look We hope you give this landscape a try with your oil pastels! In the areas that are saturated with sun, lighter yellow-greens are applied.On the trunk of the tree and on the larger branches, we’ll add a bit of color with an intense red. I chose to lay-in the brightest, lightest yellows and greens first using stipple – pointillism strokes. An orange surface will give the image warmth as small specks of the paper will still show through in areas.Here are the specific materials used to create the art with links to purchase. After we have the flowers in place, we can add the finishing touches to the image. We’ll begin with a dark reddish-brown, establishing the shape of the trunk and larger branches. I made sure to leave the bulk of the sunlight stream white.Using a dark green pencil, add a few tiny strokes on the closest evergreen tree and shrubs to indicate twigs and branch tips.I wish I had sharpened my pencil before I tried this step! As you may have noticed, our reference doesn’t feature any flowers. So instead of copying the reference exactly, we’ll alter the art to make our painting more interesting.
Light pressure is used to apply the oil pastel in this early part of the process.Once a looser indication of the shape of the tree is in place, we can block in the sky behind it. But to make our drawing a bit more interesting, we’ll add groupings of flowers in the field. With the sky established, we can go over the lighter applications of dark brown with a heavier application. This time, we’ll add collections of leaves and smaller shapes, further refining the overall shape of the tree.Next, we can refine the shape of the main tree and the smaller trees behind it. This will keep the lighter colors pristine and remind me not to blend into those areas. Blend with a stump until no white particles of the paper show through, using verticle strokes to imitate distant trees.Using the tip of a pointed palette knife or a dull blade, scratch small vertical lines into the area to suggest a few tree trunks.Do not overblend! If you are new to the medium, please read our comprehensive article about them Because I knew I wanted to use a granulated paper for the purpose of mottled color, I used Lightly sketch in the rudimentary outlines of the landscape with a pencil.Using a dry-brush technique, create the water with a light olive, a medium-light grey and a medium grey olive, leaving many sparkles of light. We’ll continue to layer additional greens in the foreground, pulling strokes in the same direction as the grass grows. I receive compensation for products or services that are purchased through this site. I create color groups of foliage and compose as I go so that the viewer’s eyes will be guided in a visual pathway around the painting and not get hung up on a strong focal point.Next I add dark green and darker orange-browns to the shrub areas and began laying the darkest shadow area in the lower right with dark purple, dark warm brown and dark blue.Add a hint of dark trunks to the solitary trees on the left.Using Sennelier light grey, dry-brush over the far back hills to reduce the high chroma of the purple and blue.Now I need to decide where I want to reduce the sparkle of the white of the paper showing through. Each manufacturer has a different approach which leads to a broad spectrum of characteristics across the same medium. In the shadowed areas, blues and blue-greens are applied. The extra tooth or texture of the paper will allow us to make multiple layered applications of oil pastels. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)…We’ll work from a photo reference to complete the image but make a few alterations during the process. I’ll start with the darkest shadowed area in the lower right. We’ll continue layering a variety of yellow-greens as we continue to pull out the forms of the collections of leaves.
When used in the manner that we’ve covered here, they are capable of producing the look of an oil painting, complete with expressive “brushstrokes”.Thanks for joining me on this artistic adventure and I wish you the best in your own oil pastel creations. This characteristic exaggerates the look of brushstrokes and it’s for this reason we’ll work with Sennelier oil pastels to complete the landscape. Both dark brown and white branches are added for variety and a sense of realism.We’ll continue to add sections of progressively lighter yellow-green applications to the leaves as well as additional layers of oil pastel to the trunk and larger branches.We can also bring in additional interest with a bit of color.
Light pressure is used to apply the oil pastel in this early part of the process.Once a looser indication of the shape of the tree is in place, we can block in the sky behind it. But to make our drawing a bit more interesting, we’ll add groupings of flowers in the field. With the sky established, we can go over the lighter applications of dark brown with a heavier application. This time, we’ll add collections of leaves and smaller shapes, further refining the overall shape of the tree.Next, we can refine the shape of the main tree and the smaller trees behind it. This will keep the lighter colors pristine and remind me not to blend into those areas. Blend with a stump until no white particles of the paper show through, using verticle strokes to imitate distant trees.Using the tip of a pointed palette knife or a dull blade, scratch small vertical lines into the area to suggest a few tree trunks.Do not overblend! If you are new to the medium, please read our comprehensive article about them Because I knew I wanted to use a granulated paper for the purpose of mottled color, I used Lightly sketch in the rudimentary outlines of the landscape with a pencil.Using a dry-brush technique, create the water with a light olive, a medium-light grey and a medium grey olive, leaving many sparkles of light. We’ll continue to layer additional greens in the foreground, pulling strokes in the same direction as the grass grows. I receive compensation for products or services that are purchased through this site. I create color groups of foliage and compose as I go so that the viewer’s eyes will be guided in a visual pathway around the painting and not get hung up on a strong focal point.Next I add dark green and darker orange-browns to the shrub areas and began laying the darkest shadow area in the lower right with dark purple, dark warm brown and dark blue.Add a hint of dark trunks to the solitary trees on the left.Using Sennelier light grey, dry-brush over the far back hills to reduce the high chroma of the purple and blue.Now I need to decide where I want to reduce the sparkle of the white of the paper showing through. Each manufacturer has a different approach which leads to a broad spectrum of characteristics across the same medium. In the shadowed areas, blues and blue-greens are applied. The extra tooth or texture of the paper will allow us to make multiple layered applications of oil pastels. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)…We’ll work from a photo reference to complete the image but make a few alterations during the process. I’ll start with the darkest shadowed area in the lower right. We’ll continue layering a variety of yellow-greens as we continue to pull out the forms of the collections of leaves.
When used in the manner that we’ve covered here, they are capable of producing the look of an oil painting, complete with expressive “brushstrokes”.Thanks for joining me on this artistic adventure and I wish you the best in your own oil pastel creations. This characteristic exaggerates the look of brushstrokes and it’s for this reason we’ll work with Sennelier oil pastels to complete the landscape. Both dark brown and white branches are added for variety and a sense of realism.We’ll continue to add sections of progressively lighter yellow-green applications to the leaves as well as additional layers of oil pastel to the trunk and larger branches.We can also bring in additional interest with a bit of color.