By Marc Chagall
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Extra resources for 30 paintings
Using a clean, dry (no moisture in the brush at all) badger flat, turn the brush to the chisel edge and indicate some horizontal lines of water movement and fine ripples that reflect the orange foliage. You are actually removing paint so the orange undercoat shows through; you are not applying more orange paint. Step 15: Begin Bare Trees The bare, white-barked trees emerging up from the water are lined in with autumn green mix on a no. 2 script liner. The reflections of these bare trees were already placed in with black gesso (refer back to page 53) so these do not need to be repainted.
The clouds closer to the horizon line, above the silhouetted mountains, are more linear, less shadowed, and closer in value to the sky itself, which creates a strong sense of distance. Keeping the landform totally in shadow also helps keep the focus on the intense sunset colors of the sky. The “foreground” is actually at the top of the painting. The “background” is actually near the bottom of the painting where the sky is visuallly most distant. The sky and clouds overhead are visually closer. Horizon line.
Since the colors of winter are naturally more muted, you can achieve depth in your painting by other means. For example, even though the trees in the far distance are similar to those in the foreground, the depth is achieved by decreasing the detail, textures, size and value of the trees as they progress into the distance. The foreground trees, grasses and bushes will be in sharper focus, have more detail included and be stronger in value than those progressing into the distance. In addition, the stronger shadows cast by the trees in the foreground contrast with the more subdued hues and values in the distance.