How To Paint A Tree Doused In Gorgeous Light

Tips On How To Convey Light On A Tree

First of all, if you're interested in seeing the whole process of painting this scene, click play on the video. I walk you through each step and, for many, watching me paint is more informative than reading about what I'm doing. For others, it's helpful to get an overview, watch the video, and then try their hand at the techniques. Figure out what works best for you, and use these resources in whatever way best suits your learning style. 

Layer Your Values

Any time you're trying to convey brilliant, interesting, or warm light, you have to pay close attention to your values. 

I apply the same 3-step painting process to my tree that I do to the rest of my painting: first you lay in your lightest values (leaving the white of the paper showing only at the brightest points), then add the middle values (often just strengthening your mixes), and then adding the shadows, darks, and details. These are three distinct stages, and I allow the paint to dry in between them. 

Use a Variety of Brush Strokes on Your Tree

Organic subjects require more fluidity and less precision than non-organic subjects, which means you want to loosen up a bit and vary your brush marks on the page.

Here are a few techniques I used to make sure my final tree appeared naturally shapes as well as naturally soaked in light:

• When I drew my tree, I made sure that it wasn't too symmetrical or too straight. Most tress lean quite a bit, and if you draw a tree that is too upright, you may not achieve the organic look of a real tree.
• After my first wash dried, I took a damp brush and rewet a few key areas on my tree. This creates softer, lost edges that will contrast with harder edges that I'll add later. 
• During the second wash, I kept a second damp brush on hand to obscure edges as I painted the middle value. 
• Speaking of brushes - notice the many different brushes I used while creating this scene. Don't become too attached to one particular brush. Using a variety of brushes will push you out of your comfort zone and force you to make varied marks on the paper.
• When painting branches, I avoided painting their whole length, from trunk to the edge of the tree. Often, we only see parts of branches of a thriving tree like this one, so I made sure I only had them peek out now and again. Another quick note on branches: as a rule, branches should become thinner the further they are from the trunk. 
• When I was adding my darks and details on my tree, I made sure not to stay in any one area for too long. I worked on one area of the tree, then skipped to another, always taking the time to step back and look at the subject as a whole to avoid overworking one part of the tree more than another.

 Honing in on Trees For a Lesson on Light

Much of the advice given in today's video and blog can apply to subjects beyond trees. The main ones - vary your brush strokes and work in layers to create a full spectrum of values - are absolutely essential whether you're painting a seascape, a portrait, or a sky.

But sometimes focusing in on a single subject - like a tree - helps to reinforce these lessons. There's so much to think about when you paint a whole scene, and it can feel overwhelming. Focusing instead on a single mission (like painting a tree doused in gorgeous light), helps many painters to refine fundamental skills that will improve their paintings overall.

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