Misty Boathouse

I think I’ll call this one done. A thank you to Fay Sirkis and Kelby Training. I used a number of brushes from Fay’s Mater Brush Collection for this:

– Da Vinci Foundation 1
– Cezanne Rich Blender
– Mountains & Rocks Old Rusty Paint
– Seaworld Blender
– Trees & Branches Willow Branches and Blades of Grass brushes

I used the Da Vinci Foundation and Cezanne Rich Blender to do the underpainting and get the colors. Most of the painting was done with the Acrylic Captured Bristle brush from Painter 11. The Mountains & Rocks Old Rusty Paint was exactly what I was looking for to bring out some texture in the dirt areas. I used the Trees and Branches Willow Branches for the tree foliage. I used the Tress and Branches Blades of Grass for the grass. I used the Seaworld brushed to get the water texture. Given the water was relatively smooth the brushes, which seemed to be geared more for dramatic seascapes, weren’t ideal but using the Seaworld Blender with the Acrylic Captured Bristle gave me some good texture without being too rough.

I think the most important thing to understand is how the resat, bleed, jitter and opacity work together to give you a mix of details cloned from the original photo and the paint brush characteristics. Generally, I resat relativley high and bleed relatively low to get a mix of the details on the canvas. Then I reversed the settings to blend. If the paint seemed to be the right mix of clone detail and brush characteristics but was generally too strong or weak I would adjust the opacity accordingly.

Another important thing I learned in this process is how to use layers. If you set the close source to the same painting you are working on the layer you are working on will clone from all the visible layers underneath it. A neat trick to control what is cloned is to turn layer visibility off for layers you don’t want to pick up. I did this as I was building the paint layers. When I got to the final details I changes the clone source back to the original photo and was able to lightly paint in details combined with the brush characteristics.

The Acrylic Dry Brush helped me brush in details throughout the process and finally I brought out some contract by selectively applying the Acrylic Glazing brush as 1% opacity, 1% resat and 0% bleed to areas I wanted darkened; the tree branch shadow areas, boathouse shadows and water surface.

This is an actual location on Dewatto Bay on the Kitsap Peninsula side of the Hood Canal in Washington State. The background is where the Olympic Mountains on the Olympic Peninsula rise in some places more than 9,000 ft from sea level. Very much a natural fjord setting.

When I have the time to prepare this for canvas wrap I will be making it available from my online site at mdelaplane.zenfolio.com.