Grays and light creams are added on the side of the trunk receiving the majority of light. Then over the top, we’ll apply dark brown in the shadowed locations. We’ll begin with a dark reddish-brown, establishing the shape of the trunk and larger branches. Layering is important as it will add complexity to the color. Next, we’ll begin work on the trunk of the main tree. Gradually, we’ll begin pulling up the value by layering slightly lighter versions of yellow-green over the darker shapes of the tree established in the previous step.Īs we develop the value and color, our tree begins to make more sense as a form. Next, we can refine the shape of the main tree and the smaller trees behind it. This time, we’ll add collections of leaves and smaller shapes, further refining the overall shape of the tree.

With the sky established, we can go over the lighter applications of dark brown with a heavier application. Over the top, a white follows, mixing with the light blue as it is applied. Once a looser indication of the shape of the tree is in place, we can block in the sky behind it. Light pressure is used to apply the oil pastel in this early part of the process. We’ll begin the drawing by loosely blocking in the shape of the tree with a very dark brown. Here’s a look at the photo reference used in this drawing…

So instead of copying the reference exactly, we’ll alter the art to make our painting more interesting. We’ll work from a photo reference to complete the image but make a few alterations during the process. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)… Here are the specific materials used to create the art with links to purchase. An orange surface will give the image warmth as small specks of the paper will still show through in areas. A paper with a weaker tooth would hinder us from making so many layers. The extra tooth or texture of the paper will allow us to make multiple layered applications of oil pastels. For this image, I’ve decided to work on Canson Mi-Teintes pastel paper, applying the medium to the heavily textured side of the paper. The surface that we’ll work on is also important.

This characteristic exaggerates the look of brushstrokes and it’s for this reason we’ll work with Sennelier oil pastels to complete the landscape. However, Sennelier oil pastels produce an almost impasto surface texture, with the material raised off of the drawing surface. Some artists will prefer the control they get from Sakura oil pastels while others will prefer the painterly look produced by Sennelier.īoth brands of oil pastel mentioned above are capable of producing a “painterly” look. For example, oil pastels made by Sakura (Cray Pas) behave differently from those made by Sennelier. Each manufacturer has a different approach which leads to a broad spectrum of characteristics across the same medium. Oil pastels, like all art media, is produced by a variety of manufacturers. The brand of oil pastels that we’ll use for this image is especially important.

Love oil pastel scenery drawing