More than half of the autumn leaves are on the ground now where I live, which means two things: lots of raking and beautiful colors littering the woods. It doesn’t take long for leaves to dry out and fade, so I have forsaken the rake in favor of the paint brush. A good choice, don’t you think?
Tips and Techniques– Leaf “portraits” like this are a good way to practice painting skills. They force you to work on getting crisp edges, mix subtle color variations, and use both wet-in-wet and dry brush techniques. I started with a light pencil drawing and then a wet-in-wet wash to establish the lightest colors and define the shapes. I continued with three or four more layers to deepen and adjust the colors and add texture. Adding a shadow gives these a bit more dimension. There are a lot of leaves out there to choose from—have a go!
I love the way autumn builds to its peak color, first slowly, then with bold strokes. The reds and oranges are showstoppers, but it’s the yellows that hold it all together. Birch, walnut, hickory, cottonwood, beech, poplar, aspen, gingko, sassafras—all yellow. But my favorite is the luminous golden leaves of the bitternut, which come into their own in mid-October and quickly sail away like so many paper kites in gusts of wild wind.
Tips and Techniques– An all yellow subject is a bit tricky. The color is so light on the value scale, but you still need to create variations from light to dark for interest and depth. I used aureolin and quin gold, two very transparent yellows, as a base, and added burnt sienna and burnt umber for deeper tones. The shadows are cobalt blue. Keeping the entire palette transparent was important for avoiding heavy or murky yellows.