Although I didn't really want to create a "series", it just kind of happened that way. This topic has turned out to be just too big to fit into one artivle. The first two articles in this series are Painting Outdoors - Composing Your Subject Matter (link- http://www.bellaonline.com/articles/art58056.asp)and Painting Outdoors - What To Leave Out. It would be a good idea to read over those first, since this one builds on them.

In "What To Leave Out", we covered choosing a focal point and getting a sketch on the canvas (or board or whatever) to guide your painting. I seldom do a detailed drawing, especially at this point. I prefer to put in the background and at least get to the point where I am ready to work on an area before adding the detail to that area. If we are working on something that demands huge amounts of detail like a portrait, that is another ballgame and another article. Right now we are working on a landscape.

The first step will be to put in the sky. Daytime or night skies will have different colors, but begin there. Start at the top of the canvas and work down toward the horizon line we put in earlier. I like to work wet-on-wet if using oils. It is a good idea to go right over any trees you plan to put in. That way, you can let some of the sky show through here and there, creating a more natural look.

If there are mountains or buildings in the background, you should work the sky color right down over any outlines you have put in for them. This gives a feel of continuity to the work. The sky will not look like it stops at the top of your mountain or structure.

Sky color will be darker (or more intense) at the top of the canvas and lighten as you work down. This is due to the effect of water molecules in the atmosphere. They are more concentrated as you look closer to the horizon and filter the sky color to make it look lighter.

I like to add clouds while the sky is wet, if possible. Then they are part of the sky and don't look like they were put on top. If you are working in oils, this is easy. Just do it while you are there. In acrylics, it is a bit trickier, but can be done. We will address this at some future point. Anyway, the clouds you paint should be reflect the type of clouds you are seeing.

Be sure not to leave a buildup of paint at the bottom of the skyline that will put a physical texture line across the work. Blend the color off so you can work the next step over it.

Join us next time when we will start to work forward.

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