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How NOT to Paint the Rocky Mountains: Turning my Mistakes into a Realistic Oil Painting (Tutorial)
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In this landscape realism oil painting tutorial, I'll be teaching you how NOT to paint the Rocky Mountains, walking you through four key mistakes, plus a bonus mistake that I *almost* made right near the end of the painting. I genuinely think that the act of painting is just making a series of corrections...until you wind up with a piece that you're happy with. Novelists go through drafts; artists go through layers. It's all part of the process. Filmed in 4K, so you can enjoy with any device!
Video Chapters:
00:00 Introduction
00:30 Adding a Smooth Gradient Sky
02:06 Mistake No. 1: Not Knowing the Dry Time of your Colors
03:14 Mistake No. 2: Trying to Get the Color Perfect in the First Layer
06:21 Painting the Alpine Lake
07:26 Mistake No. 3: Inventing Colors that are Just Plain Wrong
08:35 Mistake No. 4: The Reference Isn't Always Right
09:50 Second Layer
10:29 Bonus Mistake: Misreading Sunken In Colors
12:21 Final Painting Reveal
For my palette: I used predominantly titanium white, burnt umber, ultramarine blue, and Prussian blue. For the sky, I added in some cobalt to get that intense Alberta blue, and in the Alpine Lake I added in a hint of cadmium yellow medium to get the teal. There is also a smidgen of quinacridone red in both the sky and snow to warm up the cold tones and prevent the overall piece from getting too cold.
Oil paint dry time by color:
Fast drying (overnight for thin layers, 1-2 days for thicker): cobalt blue, Prussian blue, burnt umber, raw sienna
Medium drying (3-4 days): phthalos, burnt sienna, ultramarine blue, alizarin crimson, sap green, cadmiums
Slow drying (5 days or longer): quinacridones, titanium white
Here's how I modify my dry times: I use liquin to accelerate (and usually, I do use a smidgen in each painting session), and safflower oil to decelerate. If you want to elongate the dry time even further, use an oil like walnut or poppy with a very slow dry time.
To oil out your painting: my recipe is 3 parts gamsol, 1 part linseed or safflower oil. Safflower is better if you want to preserve the white in your paintings, as linseed may yellow over time. I keep it premixed in a jar for convenience. Brush it on, wipe it off with a lint-free cloth, then stand back and be amazed at how your painting has come back to life.
My preferred supplies:
Please note: as an Amazon associate, I earn from qualifying purchases
Video Chapters:
00:00 Introduction
00:30 Adding a Smooth Gradient Sky
02:06 Mistake No. 1: Not Knowing the Dry Time of your Colors
03:14 Mistake No. 2: Trying to Get the Color Perfect in the First Layer
06:21 Painting the Alpine Lake
07:26 Mistake No. 3: Inventing Colors that are Just Plain Wrong
08:35 Mistake No. 4: The Reference Isn't Always Right
09:50 Second Layer
10:29 Bonus Mistake: Misreading Sunken In Colors
12:21 Final Painting Reveal
For my palette: I used predominantly titanium white, burnt umber, ultramarine blue, and Prussian blue. For the sky, I added in some cobalt to get that intense Alberta blue, and in the Alpine Lake I added in a hint of cadmium yellow medium to get the teal. There is also a smidgen of quinacridone red in both the sky and snow to warm up the cold tones and prevent the overall piece from getting too cold.
Oil paint dry time by color:
Fast drying (overnight for thin layers, 1-2 days for thicker): cobalt blue, Prussian blue, burnt umber, raw sienna
Medium drying (3-4 days): phthalos, burnt sienna, ultramarine blue, alizarin crimson, sap green, cadmiums
Slow drying (5 days or longer): quinacridones, titanium white
Here's how I modify my dry times: I use liquin to accelerate (and usually, I do use a smidgen in each painting session), and safflower oil to decelerate. If you want to elongate the dry time even further, use an oil like walnut or poppy with a very slow dry time.
To oil out your painting: my recipe is 3 parts gamsol, 1 part linseed or safflower oil. Safflower is better if you want to preserve the white in your paintings, as linseed may yellow over time. I keep it premixed in a jar for convenience. Brush it on, wipe it off with a lint-free cloth, then stand back and be amazed at how your painting has come back to life.
My preferred supplies:
Please note: as an Amazon associate, I earn from qualifying purchases
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