PAINTING

TREES & LANDSCAPES

IN WATERCOLOR
by TED KAUTZKY
 I,

PAINTING
TREES
AND
LANDSCAPES
IN WATERCOLOR
by Ted Kautzky

Following Kautzky 's now famous Ways

With Watercolor, this grandly-planned
companion volume offers valuable, never-
before-published information on how to
paint such important landscape com-
ponents as trees, roads, puddles, rain and
fog. It goes beyond the sound funda-
mentals of the first book to teach the
more difficult problems encountered in
details.
Sixteen paintings in full color plus
many, many sepia tone gravure studies
are used successfully by the author to
teach the fundamentals of good composi-
tion, value arrangement, balance, rhythm
and pattern of design. Basic brush strokes
for tree paintings are amply illustrated,
and separate chapters are devoted to
painting forests and different types of
trees. An unusual teaching aid is offered
in the ten provided practice
specially
subjects. These subjects are designed to
be completed by the student according
to his own interpretation of value, color
and mood.
Beautifully presented in Kautzky's un-
surpassed style, this valuable book will
be warmly welcomed by all art students,
landscape architects, interior decorators,
commercial artists, amateur painters, and
by all those who are familiar with the
author's previous widely-popular books.
(See back page of jacket for more details)
SditAJ
 PAINTING
TREES & LANDSCAPES
IN WATERCOLOR

TED KAUTZKY, N.A

REINHOLD PUBLISHING CORPORATION

NEW YORK
 Copyright 1952

Reinhold Publishing Corporation

Eighth Printing, 1963

Printed in the United States of America by Beck Engraving Company

Binding by Russell-Rutter

Library of Congress

Catalog Card Number 52-10618

 To
My wife, Ruth a constant companion
y

on my travels and painting trips.

Ted Kautzky, born in Budapest, lived in Hungary
until 1923 when he came to the United States. He
was graduated from the University of Hungary in

1921. His paintings, exhibited in Europe and the

United States, have won many honors. In 1929 he

became an American citizen. He conducted his

own school in 1936 and 1937, taught at Pratt Insti-

tute in New York City during the next two years

and lectured at several universities. Besides being

a painter, the author has made an educational film

for Encyclopaedia Britannica Films, Inc. and is

the author of IVays with Water Color; Pencil Broad-

sides and Pencil Pictures.

Among Ted Kautzky's many important prizes are:

the Medal of Honor of the American Watercolor

Society, the Gold Medal of the Allied Artists of
America, the Prize and Popular Prize of the Balti-

more Watercolor Club r the Watercolor Prize of the

Salmagundi Club and the Obrig Prize of the
National Academy of Design. The latter two were
won in 1952. He is a member of: National Academy
of Design, 1950; American W atercolor Society;
7

Club, Philadelphia W ater Color Club,

r
Salmagundi
and other leading art organizations.
 TABLE OF CONTENTS

INTRODUCTION 1

MATERIALS 3

COMPOSITION 4

VALUE ARRANGEMENT 8

FOG AND RAIN 10

ROAD PUDDLES 12

ON PAINTING ROADS 14

USEFUL STROKES FOR PAINTING TREES 18

PAINTING TRUNKS AND FOLIAGE 20

THE FOREST 24

TEN VARIETIES OF TREES 28

THE WILLOWS 30

Plate: Willow Road 34

EVERGREENS 36

Plate: Grand Valley, Colorado 40

Plate: Loch Vale, Colorado 41

THE MAPLE TREE 44

Plate: Autumn in Vermont 47

Plate: Golden Maples 50

THE BIRCHES 52

Plate Along the

: Road in New England 56

Plate: Birches at Forest' s Edge 57

THE SYCAMORE 60

Plate: Pennsylvania Farm 63

 TABLE OF CONTENTS (continued)

THE PALMS 65

Plate: St. Philip's Church, Charleston, $. C 74

THE ELM TREE 76

Plate: New England Village 80

Plate: Farmland in Vermont 81

THE OAKS 84

Plate: The Gnarled Oak 87

Plate: Spanish Moss 90

LOMBARDY POPLAR AND ASPEN 92

Plate: Aspen Grove, Colorado 96

Plate: Poplars 97

MONTEREY CYPRESS 100

Plate: At Carmel Bay, California 103

PRACTICE SUBJECTS 105

 PAINTING
TREES & LANDSCAPES
IN WATERCOLOR
 INTRODUCTION
The present book has been written to I have given equal attention to all of

afford the reader an opportunity to the elements in each one — so that the
learn about a number of elements that reader might see a developed composi-
appear time and again in almost every tion in color.
landscape. In each of these, I have pre- For each of these pictures, I have
sented only enough fact to serve the analyzed the composition briefly and
artist's need — placing the emphasis on a given pertinent facts concerning my
workmanlike approach to the way of choice of paper, palette, and painting
achieving a particular effect. order. Also, as a teaching aid, there
Since trees are a vital part of many is included a half-stage illustration
landscapes, a large part of the book has (painted after the completion of the
been devoted to a general study of a finished watercolor) to demonstrate
selection of them. But I want to stress graphically the initial stages — revealing
at the outset, that my object in writing in addition, the skeleton pencil draft.

about trees has not been directed to The reader will also find chapters on
the botanist— even the amateur bota- composition, value arrangements, fog
nist-but rather, to the student of wa- and rain, puddles, various types of
tercolor painting. Nor has it been my roads, and a chapter on forests.
intention to suggest that my way of Throughout the book, I have demon-
painting trees and landscapes is the strated by example technical procedures
onlv way. There are many. for painting all of these subjects — in-

Certain features of a tree are important cluding typical brush strokes for model-
to every painter regardless of the tech- ing foliage, trunks, limbs and branches.
nique or manner of expression he may Finally at the end, there will be found
employ in painting them. These are: a series of pencil outline compositions
the general form; scale; the kind of which will aid the student in trying out
foliage; structure of its trunk, limbs various color schemes and value ar-
and branches; the color and textures; rangements. They will prove of value
and its general appearance, with or only if the reader will study the book in
without foliage. For each of the vari- sequence from the beginning. These
eties, I have prepared numerous illus- are not intended to substitute for actual
trations to demonstrate these facts. study in the field— there is no substitute
Preceding the actual writing of the for firsthand knowledge acquired by
book but in active preparation for it, I diligent study of nature — but rather, as
spent a number of months sketching a series of studio exercises to assist the
and painting in various sections of the student in working out the various
Tnited States. All of the sixteen water- hints which accompany each drawing.
colors reproduced in color were painted With the popularity of watercolor
especially for this volume. In order to growing steadily, I hope that the study
present each variety of tree in a typical of this book will increase the knowledge
setting and atmosphere, and at the of the student and provide a benefit in
same time to paint pleasant landscapes, his watercolor practice.
 MATERIALS
For the best results, watercolor painting Alizarin Crimson and Vermilion Red—
requires the use of good materials. This the first a cool red, the second, a warm
is particularly true of the three basic one; four yellows: Cadmium Orange,
tools: paper, pigment and brushes. Cadmium Yellow, Aureolin Yellow and
My own preference in paper is always a Cadmium Lemon; three blues: French
handmade sheet of rough or semi- Ultramarine (which I use most fre-

rough, all rag stock, in a 300 pound quently for its rich intensity, its ability
weight. Such a paper, manufactured to mix well with other colors and its

abroad and known as Whatman, D'- characteristic in "settling washes"),

Arches, Crisbrook and Royal Water Cobalt, especially useful in the painting
Color Society, comes in full sheets of summer Winsor and Cerulean
skies,

measuring 22 by 30 inches. Blue, for cool passages of sky and

I use a half sheet for most of my out- mountains; a green: Hooker s Green
door paintings and a full sheet when Number 2, which I lighten or darken
working in the studio from my pencil with a mixture of a blue or a yellow.
drawings and outdoor color studies. The earth colors, made from the oxides
Paper of a dubious quality is not only a found in the natural soil, provide the
handicap in the actual appreciation of watercolorist with warm, brownish
the color washes, but its chemical im- tones so useful in painting landscape. I

purities will cause deterioration in an use the two Siennas, raw and burnt, and
otherwise fine performance in color. both raw and burnt Umber.
The economy of these papers I have For the neutralizing of various color
recommended in a 300 pound weight washes and mixtures, I employ two

lies in the fact that both sides are grays: Davy's Gray, which has a warm
equally well sized and may be used. tone, and Payne's Gray, which is cool.
The D'Arches paper, unlike the others Finally,I make occasional use of Sepia

mentioned, is not pure white, being — a warm, brownish gray, which I use
manufactured of bleached rag, but has for monochrome studies.
a real advantage in painting water- Again, I advise buying a few good
colors of fog, rain and mist. For sub- brushes of the best quality. For most of
jects of strong light contrasts, I prefer my work I use the flat, square-end sign
the whiteness of Whatman or Crisbrook. painters' ox-hair brushes — the half-inch
Of the more than one hundred water- and the one-inch for the
for general use,
color pigments available to artists,most larger washes. You will also need at
successful painters use a palette con- least two round brushes — a small one,
sisting of about ten to twenty colors. number 2 or 3, for details, and a large
As in the case of paper, the chemical one, a number 12, for medium sized
purity and permanence of the pigment washes. If possible, get these in red
are of vital importance. I prefer the sable.
transparent watercolor manufactured In my previous book, Ways with Water-
by Winsor & Newton or Grumbacher. color, I have gone into much greater
My own palette consists of two reds: detail concerning my materials.
 COMPOSITION
Perhaps the most important considera- sent a re-arrangement with additional
tion in the painting of successful pic- elements, providing better pictures.
tures in any medium is the design or Starting at the top, example number 1
composition. Nature provides the artist shows a monotonous arrangement. The
with inspiration, motifs, color and ar- barn and silo are centered, left to right;
resting forms, but the business of the flanking trees and mountain back-
arranging any and all elements into a ground are too evenly spaced.
pleasing design is the vital problem of In number 2, variety of pattern and
organization. informal balance have been achieved by
When going out to paint a landscape, the placement of the barn off center to
the first thing to do is to arrange all of the left; the curvature of the road has
your materials and equipment in good been accentuated in the foreground;
order. and a willow has been added in the
Next, do not make the mistake of middle distance. The large tree to the
traveling in circles hoping to find the right, reflected in the mud puddle, has
perfect subject ready-made for you. also added interest.
Make it a practice to stop at the first Number 3 has considerable line move-
subject that attracts you and get to ment but fails to contain itself within
work. But this does not mean you the picture plane, as the perspective
should start painting immediately. Walk and distant mountain
lines of sky, trees,

around the subject and try to select a all lead out of the picture, from the

point of view that lends itself to the upper left to the lower right. As a
best position with full consideration for counterbalance for this fault, in number
the light directionand the most attrac- 4, I have introduced a clump of dark
tive deposition of the major masses. tree forms on the right bank, and
Having selected your position, take changed the slant of the mountain out-
time to make one or more preliminary line. Notice too, that the trees to the
drawings in small scale, placing the right being barren of foliage, provide a
accent on the simplest pattern. marked contrast to the fullness of the
Painting a picture is like building a other tree masses.
house. First comes the plan, next the In example number 5, we find the pic-
construction of the framework, and ture optically overweighted on the left

finally^ the refining details of ornamen- side. Only by cropping it about one-
tation, colorand textures. third on the right, could proper balance
As an aid in making my initial remarks be efTec ted— which would make an up-
concerning composition clearer, I have right shape instead of a horizontal one.
prepared the group of examples, oppo- By adding the two trees on the right
site. In each of these three sets, I have side, and increasing the dark mass of
used the same general subject matter. trees in the middle distance farther to
In the examples on the left, the design number 6 becomes a well-bal-
the right,
indicates a less than satisfactory com- anced and more interesting composition.
position; those on the right of each pre- The changes that have been discussed
 H

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and graphically shown here are in effect zigzag movements topmost peak.
to the
the kind of preliminary sketches I have The larger masses are broken up with
recommended in the beginning of this textural indications and varied in pat-

chapter. It is not necessary to make tern by contrasting values. Distances

them as complete as I have to serve the are further enhanced by the receding
important purpose. Pencil may be sub- scale of the trees, from those in the fore-

stituted for the Sepia wash. The sig- ground to those suggested on the slopes.
nificant thing about it is that by making The giant Sequoias in picture number
two or more studies prior to plotting 10 would not impress us with their
the composition on your watercolor great scale were it not for the presence
paper, much of the trial and error will of the pines introduced alongside of
be eliminated. them in the middle distance. This de-
A very dramatic effect may be produced vice of providing a unit of familiar
by a low eye level, intercepted by tall measure — like a figure or animal — im-
verticals. This is displayed in example mediately creates the illusion of con-
7, but it has the same monotony as trasting scale.
example 1, on page 5. The even spacing If you select a subject, to paint that
of the trees with each one rising to the does not have perspective lines which
top produces a static effect that acts as lead into the picture (such as we find
a barrier to the eye. Now examine the in examples 7 and 12), the illusion of
picture opposite (number 8). I have depth may be obtained by varying the
eliminated one tree, and in re-spacing spacing of the parallel forms — shadows
the others, opened up a passage for the on the ground, a horizon line, or in the
road. The simple device of placing the sky area, the cloud forms.
white house foiled against the dark of I have put this principle to work in

the mountain carries the eye into the picture number 1 1 . The horizontal spac-
background. Also note that the second ing diminishes from foreground to hori-
tree from the left side does not carry zon on the ground plane, and also in

to the top and thereby helps to stop the the cloud forms, from the top to the
vertical movement, returning the in- horizon. The depth is further enhanced
terest to the horizontal plane. by the value arrangement which will be
Now we come to four separate pictures taken up in the next chapter.
that demonstrate particular features Picture number 12 presents one of the
which need special explanation. most powerful devices in composition,

In painting mountains, and in fact all wherein all of the perspective lines —
angular forms, there is a natural tend- of the roadway, trees and telephone
ency to create monotony through the lines — lead the eye to a point of con-
paralleling lines. I have tried to avoid vergence at the horizon. In painting
this situation in number 9 of the this kind of picture, it is important to
mountain by supporting the
picture, avoid placing the point where all the
pyramidal snow-capped peak by a series perspective lines converge in the dead
of contrasting obliques. The eye, enter- center. I have avoided this by (1) using
ing the composition on the flat fore- a low eye level and (2) by forcing the
ground plane, is carried in a series of end of the road off center, to the right.
^w^^^ff

11 12
 VALUE ARRANGEMENT
Values in watercolor painting often foreground is cast in the lightest value,
present the artist with more problems with the middleground in the medium
than color. In his desire to record local dark value, and the background moun-
colorand atmosphere, the painter some- tain in the darkest value.
times fails to produce the correct value. Next, in number 3, the foreground is

His darks are often not dark enough and the darkest, the middleground is the
his light values, too dark. This is the medium dark and the mountain back-
reason that it is altogether possible for ground is the lightest value. Picture 4
the experienced artist working with a has the same foreground value as num-
limited palette to paint a very successful ber 2, but the values of middleground
picture, if his values are convincing. We and background are reversed: the house
have only to look back in the history of and smaller trees in the middle distance
art and to reproductions of some of the are the darkest value, with the moun-
early watercolor masters who worked tain background the medium dark.
with a few simple colors, but who had a In picture 5, the value arrangement
thorough command of values, to realize creates a dramatic accent in the middle-
the truth of this statement. ground by foiling its light value against

The six illustrations opposite are all the background, which is dark. The final
tone variants of the same pictorial com- illustration (No. 6) also gives dominance
position. From any one of these value to the house and trees in the middle-
studies (and here again I wish to ground by contrast with the darkest
emphasize the importance of the pre- value foreground, and a middle dark
liminary sketch) one could paint a pic- background.
ture in full color. While these examples In making value studies such as these,
are arbitrary value arrangements, each the object is to keep the individual
one is possible under proper conditions. detail subordinate to the major tone
Now let's examine each picture and masses. The student could not be
analyze the value scheme, confining our directed to finer examples than the pre-
major attention to the three principal liminary drawings of Rembrandt and
tones. In number 1, the foreground of Goya. These masters evolved some of
roadway and tree is a medium dark their greatest works from miniature
value; the middleground of house and studies in which the great emphasis was
smaller trees is the darkest value; and placed on value patterns and value con-
the mountain in the background is a trasts. This virtue may be seen carried
simple silhouette of light value. Details out in their prints (in monochrome) as
within each of the principal values- well as in their paintings in full color.
such as cast shadows, textures in road- I would like to suggest that readers who
way, trees and grass — should be re- are anxious to improve their handling
garded as belonging to the overall pat- of values would benefit by making six
tern of each of the three major values. similar value studies of one of their own
The next example, number 2, presents paintings. You will find it an invaluable
a contrasting value scheme. Here, the experience and not a mere exercise.
 FOG AND RAIN
While the painting of subjects in strong page was painted in the following order.

contrasts of sunlight and shadow pro- The general composition was lightly
duce colorful pictures, artists ought not indicated in pencil outline and the first

to neglect the opportunity to tackle the color wash was concentrated on the
atmospheric qualities created by fog dark tree form, in the right foreground.
and rain. This was kept as dark as I could make
Fog obscures details, especially in the it, without losing transparency. Next,
middle distance and background, cre- the trees in the left foreground were
ating silhouettes. Local color loses its painted similarly. The road was my
original identity and takes on the color next consideration, and here again I

tone of the fog, as the planes recede into related the dark foreground to the value
the background. Fog is usually a purple of the larger trees, graduating the wash
gray, a gray green, or a neutral gray. from the immediate foreground to the
The foreground color however is less high-lighted area in the middle dis-
affected, although here too the grayness tance. The architectural forms were
of the general atmosphere reduces tone indicated next, and like the roadway,
values into subtle relationships. Usually painted from dark to light, as the planes
the foreground is the darkest value in a receded into the background.
picture under conditions of fog or rain. The misty quality of the fog in the
My palette for painting fog and rain central background was achieved by
is usually composed of French Ultra- painting the sky and farthest tree on a
marine Blue, Burnt Umber, Hooker's wet surface. When this area had dried,
Green No. 2 and Davy's Gray. I superimposed the next elm in a slightly

There are two ways to create this misty darker value. Finally, the details of
effect. In the first one, I wet the paper foliage, sky, architecture and textures
with sponge or brush in that section of were added, combining dry - brush
the composition which is affected most strokes with normal washes.
by the fog— usually the background. Throughout this picture, I worked from
Into this dampened area I paint the foreground to background, graduating
forms with my brush loaded with pig- values and sharpness of detail to create
ment, adding only a little water. Too the atmospheric effect.
much water would cause the already The New England street scene below
saturated paper to spread the color was painted in the same general order,
beyond control. except that in this picture, I reserved
The second way calls for painting the white paper areas of the rooftops to
whole picture on dry paper. After the indicate their wetness. To further the
washes have dried thoroughly, I super- illusion of rain, I used reflections of the
impose clean water with a brush to trees and sky in the immediate fore-
soften and to blur slightly those sections ground. The sky was painted last, con-
which require the greatest fog effects, centrating the lightest value (white
working quickly to avoid brush marks. paper) as the foil for the silhouette of
The painting at the top of the opposite the church steeple.

10
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 ROAD PUDDLES
Puddles in a roadway, which so often darkened slightly along the outline. The
form in the depressions of dirt roads dark of the right foreground was next
after a rain, or in the Spring with the related to the road, and finally, the few
melting of snow, can be so interesting reflections of the trees to the right were
that they often become the dominant indicated. Note that the edge of the
note in a picture. This is illustrated in puddle next to the road embankment is

the top painting on the opposite page. separated from its reflections by a light
Here we have a simple landscape that, streak. This device helps to maintain
without the light puddle in the fore- the correctness of the water plane.
ground, would certainly have lacked a The next picture opposite has a very
center of interest. With it, the picture different character from the one above
becomes alive, the long curves of the it. The perspective of the dirt road
meandering road are made more rhyth- carries the eye directly from the im-
mical by the opposing shape of the pool mediate foreground up the rising grade,
outlines. The eye passes easily through- until the road makes a final turn and is

out the entire composition returning to lost sight of, only to be continued in
rest on the brilliance of the puddle, movement along the blurred edge of the
which, in reflecting the sky overhead, hill in the left background. Notice the
is a light passage. perspective lines in the roadway in the
In painting this watercolor, I first immediate foreground.
worked in the sky on a wet surface, Unlike the illustration above it, this

leaving the passage directly over the picture, with its compelling roadway
mountain tops to the left of center, the and the large mass of house and barn,
white of the paper. Next came the finds the puddle in the right foreground,

mountain silhouettes in the background, an interesting but secondary motif.

with the farthermost one lightest in Here the dark reflections are edged by
value. The middleground, with its dark white surface streaks, especially along
pattern of trees, farmhouse and field, its contours. The horizontal streak in
was indicated, to be followed in order the middle of the puddle, by being
by the embankment of the road and the spaced beyond the center, helps to
clump of trees on the right. create the illusion of space depth.
By this time, I had established all of The order of painting this picture was
my related values, from the top of the the same as the top one, and its atmos-
painting to the inside edge of the road- phere and textures effected in the same
way. Below this point was still white manner. By leaving accents of white
paper, except for the pencil lines of my paper on the rooftops and in the fore-

initial drawing. The road now was ground of the road, the strong linear
brushed in with a middle value wash, movement, previously discussed, is

leaving the puddle area the white of the brought under control.
paper. I was careful to keep the water To sum up, remember: a light valued
edges of the puddle sharply and crisply puddle has a dark edge; a dark valued
formed. The value of the road was puddle has a light edge.
LIGHT PUDDLE

DARK PUDDLE

13
 ON PAINTING ROADS
From the Renaissance down to our own accentuating the dark expansion joints-
time, the landscape painter has found better eliminate these entirely.
the road an arresting feature in much of The macadam road, which is composed
his work. Therefore, it is important for of crushed blue stone and tar, is dark
the artist to study roads in order to paint in value and color. Since it does not
them with confidence and authority. readily absorb water, it often has a
Roads are not all alike, they vary in strong sheen when wet, causing dark
color and texture according to their reflections. Frost pockets develop under
structure and surface. When dry and conditions of extreme cold followed by
under sunlight condition they present thaw. Ruts are made in the surface by
a very different aspect than when they heavy traffic, especially during warm
are wet with rain. In the balance of this weather when the macadam has a soft,

chapter we will discuss four road sur- rubber-like quality. Such variations in
faces: concrete, macadam, dirt, and surface create more interest for the
hard gravel — illustrations for which will artist than for the road commissioner!
be found on pages 15 and 17. In painting macadam roads— and, in
The main characteristics of the concrete roads— the drawing cannot be
fact, all

road are: (1) the general lightness of its over-emphasized. In your pencil draft,
color; (2) the longitudinal dark stripes pay particular attention to the road's
caused by automobile oil; (3) the me- perspective, the rise and fall of its
chanically smooth surface; (4) the slight stretching surface, the straight lines
crown or curvature in section; (5) the and curves that make up its outlines.
sharp edges at the shoulders; and (6) Remember to keep a single point of
the shoulders, which are usually gravel. view. Do not shift from one side of the
The concrete road in the watercolor at road to another in your painting or
the top opposite was painted with dry- drawing. If you will study the examples
brush strokes, following the perspective opposite, you will note that in the top
lines, and working from the immediate one, my point of view was about in the
foreground to the middle distance, middle of the gravel shoulder on the
where their speed and identity are lost. right side; and in the lower painting, I
To avoid monotony, a few horizontal was standing in about the middle of
lines were introduced, graduating their the roadway.
spacing to achieve depth. Where the I used dry-brush strokes to build up the
sun strikes this road at the right side structure and texture of the macadam
the value is lightest; it becomes slightly road. The reflections in the puddles
darker on the left side. The cast shadows in the foreground were painted with
seen here are more transparent and washes of color. Notice the powerful
warmer in the foreground than those value contrast in the middle distance,
in the middle distance and background, where the road is highlighted. This
where they should be painted in a circumstance attracted my attention in
cooler tone. One further note about a the beginning, and by using a series of
visual detail of concrete roads: avoid graduated values from bottom to top,

14
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CONCRETE ROAD

MACADAM ROAD
and from the left side to the right, I it frequently develops ruts and depres-
have made it the dominant note in sions which fill with rain, as I have
this picture. shown in the bottom picture on the
Now we come to the dirt road so opposite page.
common to the out-of-the-way places, When through long use, the gravel road
where artists like to paint. Along such becomes well-packed, the tiny stones
narrow highways, we find old fences, that make up its physical composition
mellowed farmhouses, and often a va- create tiny sparkles of reflected light-
riety of tree forms. Wagons and auto- especially when the road is rain-soaked.
mobiles have left rhythmical ruts in the Such was the condition of the road in
soft clay; puddles form in the depres- my picture. To gain this character, I

sions; a gentle rise and fall of surface allowed the rough surface of the paper
produces fascinating undulations. to help me create this effect by leaving
The following suggestions are offered to tiny spots of white. This texture is

further the reader's study. First, con- most clearly seen in the right fore-
sider the general character of the road. ground and in the curve of the road, in
Indicate the particular surface of the the middle distance.
foreground with special attention to its In making the pencil drawing, I took
form. This initial pencil drawing is as special pains in forming the outlines of
important to the final success of your each puddle. First, I tried to achieve a
picture as the proportion and perspec- good pattern, and secondly, I con-
tive of the farmhouse and fence. cerned myself with the perspective.
Notice that in my picture (top of page Notice their design. Those in the fore-

17), I have used a square-end brush ground are broader in depth than those
fairly loaded with pigment to paint the which appear farther back. Regardless
general form of the road, and drybrush of the circumstantial arrangement of
strokes to build up the texture of ruts puddles, one may see in his subject,
and along the edges of the high lights. that selection and artistic arrangement
The cast shadows of fence and tree on are far more important.
the right, in falling over the road, gave The same general technique in painting
me a further opportunity to accent the this gravel road was employed as in

modeling of the ruts. Finally, attention those previously described. Dark drag-
should be directed to the many evi- lines of dry-brush strokes may be seen
dences here of correct perspective — in the left foreground, indicating per-

especially in the architectural planes, spective.These and other surface tex-

embankments and fences that flank the tures were superimposed on a middle
roadway. The fence, alongside the farm- value wash. After all the other values
house, drops away in perspective, com- had been established, including the
pleting the illusion of deep space and trees, I added
ground plane, houses and
downhill movement. the dark reflections in the puddles. See
The hard gravel road, made of crushed how effective the vertical reflection in
stone and pebbles, has little or no re- the puddle in the middle foreground of
flective quality in itself, as moisture is the picture is in creating the illusion of

absorbed in its loose texture. However, a water plane.

16
DIRT ROAD

HARD GRAVEL ROAD

17
 USEFUL STROKES FOR PAINTING TREES
On the opposite page are a number of are illuminated by light from the side.
brush strokes which will be found very In illustration 4, we may see the use of
useful in painting. Throughout this the sharp edge of the square-end brush
book you will find these used time and used to indicate branches connecting
again in creating effects of texture and masses of foliage, which were painted in

foliage and tree structure. the technique described in plate num-

Illustration number 1 (at the top), indi- ber 1. The angle of the brush is upright
cating the vibrating character of foliage, and the touch is like a light tap. Prac-
can be made in the following way. Use tice with this brush and you will find

the square-end brush, and after mixing it can be used in many places and with-
the desired color, twist the charged out the necessity of changing to other
brush in the palm of the hand until it sizes. The lower illustration shows the
resembles a worn broom, as shown in same brush producing a different tex-
the drawing of the brush to the right. ture by using the sharp edge in a side
Use more pigment and less water. Now stroke, lightly touching the surface with
by applying the brush in this frayed little wetness and much pigment.
condition to the paper you can model a To model a smooth tree trunk like
mass of foliage. A small round brush birch or beech and to indicate its

was used in the lower part of number 1 three-dimensional forms, one end of the
to indicate bare limbs. wet brush is dipped into the pigment
The next stroke shown in number 2 at so that the stroke when applied will
the top is very useful in painting fine look like the first one in plate number 5.

willow branches, hanging moss, and the This gives the effect of strong illumina-
foliage of palm trees. Working with the tion from the left side. In the second
square-end brush as shown, and using example, the pigment is heavy at both
more pigment than water, the stroke is ends of the brush so that when applied
accented at the bottom and lifted we find dark outlines on each side, as

quickly — dragging tiny particles of color with the illumination from the front.
over the top of the rough paper surface. The last stroke demonstrated here

The dark branch strokes below were (number 6) is achieved in a curious

made with a round brush in an almost way, but the effect produced in the
upright position. illustration is well worth the trouble.
Illustration number 3 presents two Take your square-end brush and charge
ways of creating surface textures, like it with a good body of pigment; now
the rough bark of tree trunks, etc. The take a knife or piece of cardboard and
square-end brush charged with pigment separate the hairs into uneven divisions.
is held almost flat to the paper as shown Next, try out a stroke on other paper.
and dragged lightly over the surface. If the effect is satisfactory, apply it

The lowerstroke, unlike the one above, to your final paper. Drag the stroke
ispushed away from the usual move- lightly as you model the form and you
ment, creating a broken-edged line, will see that it can create rhythmical
useful in modeling rough surfaces that patterns and textures of endless variety.

18
 mk

y. V ^>»

a&ttttt Mi

1
19
 PAINTING TRUNKS AND FOLIAGE
Plate number 1 shows: the first trunk and squeezing the color out. While that
painted with a light wash with the may be accomplished while the wash is
heavier pigment on the right side; the still damp (but not too wet), a par-
next one with the same brush but with ticular passage may be dampened at
a faster stroke, leaving traces of tex- any time and the process executed.
ture; the third, a dry-brush stroke Plate number 4 pictures a birch and a
movement; and the fourth, a combina- pine. The birch tree was painted largely
tion of two dry-brush strokes — a dark, with dry-brush strokes as demonstrated
superimposed over a light one. in illustration number 3, on page 19.
Next, in plate 2, the first wash was The foliage masses were worked around
applied to indicate the general or local the white limbs. This is clearly shown
color and is represented in the example in the lowest trunks. Final accents of

to the left. The next and final step form were made with a small round
shows dry-brush stroke over-painting brush, to indicate branches, connecting
with a darker value indicating the and supporting the foliage patterns.
rounded form and surface textures. The pine tree in number 4 was painted
In the third illustration, particular at- with a medium-sized, square-end brush.
tention is directed to the light fore- The clusters of pine needles were made
shortened limb, created by painting the with dry-brush strokes, with those in the
dark local color around its pattern in background beyond the trunk darkest.
the first wash application, and finally In painting the bare elms in picture
modeling its larger form with dry-brush number 5, the main trunks were painted
strokes. The willow tree to the right with a round brush, and the tiny masses
displays characteristic contrast of heavy of twigs at the top executed with dry-
trunk and limbs with tiny sprouting brush strokes, with special attention to
branches. In painting this tree, the the radial lines of each mass. Finally, a
main form was created with a dark very thin and light wash was used at
wash and while still wet, the edge of the the tops of each tree, to create the il-

brush was dragged along the high- lusion of the splayed form — so char-
lighted side to produce the lighter value. acteristic of the elm.
This is most clearly seen on the limb The large, full-foliaged oak, in illustra-

growing out of the base to the The left. tion number 6, is depicted with a
feathering branches may be made by rounded crown, heavy, gnarled trunk,
either of two methods: by using the and masses of rich leaf forms. When
thumb to spread a tone while the dark painting this tree, pay particular atten-
wash is still wet, or by using a small tion to the light direction and indicate
brush, dragging out a thin series of this with modulating value contrasts,
strokes from the main body of dark from the light to the dark sides. To
value (on the trunk). The reflected light produce depth and dimension, accent
seen on the left side of the main trunk the masses of foliage on the far side of
was produced by using the blade of a the main limbs with the darkest tone,
knife, held almost flat to the surface, as shown in this illustration.

20
1

21
LIGHT TREE, DARK BACKGROUND TREE IN FOG

The presence of a light tree foiled against following the pencil drawing, wet the
a dark background not only gives value entire surface of the paper. Next, float

accent to a picture, but adds interest as a graded tonal wash for the sky, dark
well. Students will find the practice of at the top, with the lightest value at
creating white silhouettes of trees by the horizon. While wet, use the square-
painting the dark forms behind them, a end brush to indicate the masses of the
valuable training. With the proper value elm's foliage with pigment (with scarcely
using dry-brush strokes on the edges, I any saturation). Fan out these strokes
painted in these dark forms around the lightly, following the direction of each
silhouette of the whole birch tree-its foliage mass. The blurred effect will be
masses, trunk and main branches. instantaneous.
Dry-brush strokes and wash accounted While the surface of the paper is still

for the modeling of its foliage, trunk slightly wet, paint the trunk and
and the branches. For the smallest branches. For the smallest branches use
branches, a razor blade may be used to a brush with a fine point. The barn,
scratch out tiny white lines. ground plane and road are painted next
The next illustration presents a value in that order. Finally, when the paper
contrast of another kind. Here, an has dried completely, add the dark tree
enveloping fog obscures the details in forms in the foreground with a round
the middle distance and background. brush loaded with pigment.
To create this mood of nature, and If you experiment with this method and
 r^mi "-—

TRUNK TEXTURE TRUNK TEXTURE

find your paper dries out too quickly, and pattern; (2) the trunk, limbs and
this can be remedied by adding a little branches silhouetted against the sky,
glycerine to the water; this will retard covered with liquid rubber (latex); (3)
the drying. Other methods for remedy- the sky area brushed in with a graded
ing this situation: soak the paper in wash over the entire surface and when
water before painting or place a wet dry, the latex removed, leaving the tree
blotter under the dampened paper. This form in clean outline; (4) the back-
will keep the paper moist for hours. One ground trees painted in the darkest
other hint — you can re-wet any area value as shown; (5) the juniper tree
after it has dried completely, using a painted with dry-brush strokes, first the
brush lightly. This will give you another darkest values, next the middle values,
start on the newly wet surface. and finally, the lightest values— leaving
The illustration above (number 3) rep- passages of white paper to indicate the
resents a dead tree trunk of a Sierra high-lighted areas, especially in the base
juniper, at the timberline. (The useful- of the trunk and in the top branches.
ness of the dry-brush stroke used in The second juniper tree above was
painting this form has been clearly painted without the aid of latex. The
demonstrated on page 19, plate number sky wash was worked around the simpler
6.) The order of painting this picture pattern of this tree, and the balance of
is as follows: (1) a well-studied pencil the picture painted in the same order as
outline with careful regard for rhythms the first. Foreground was painted last.

23
VIEW FROM FOREST

THE FOREST
In painting pictures with forest motifs, how much it helps to create scale and
the artist must organize his composition by contrast with the other trees in the
with special care. Out of the welter of middle distance and background, a feel-

details such a subject presents, one must ing of space depth.

select only those features which lend Reflected light may be seen on the tree
themselves to an artistic arrangement. trunks and in the bank in the fore-
This is especially true in the spacing ground. This may be warm or cool, de-
of the trees, the variety of their scale, pending on the object which is reflected
and the rhythm of their vertical into a shadow area.
movements. Dry-brush strokes (and by this I mean
Another important consideration is to a brushful of pigment with little satura-
provide an "optical pathway" for the tion) were used to model the edges of
eye to travel -either from the inside of the glittering light passages.
the woods looking out (as pictured in In this first picture the darkest values
the first illustration above) or, from the in the foreground were painted first;

outside looking in as in the case of the next, the middleground; and finally,
illustration at the top of the next page. the background hill, with a thin wash.
Returning to the first picture, notice In the latter I left white paper to indi-
the close-up of the tree on the right; cate the sunlit meadow, the illuminated

24
 VIEW INTO FOREST

tree at the edge of the woods, the tops as follows: (1) the far stretch of the
of the barns, and in the immediate background was indicated with a med-
foreground, small masses of fern and ium dark tone; (2) the darkest value
grasses. Where the background values was used next to create the shadow area
came up against the dark of the trees, I of pines, leaving white paper for the
left a tiny valley of white. This created vertical shafts of those trees accented
the illusion of space around each tree. by sunlight; (3) foreground trees were
The second watercolor, looking into a modeled, using dry-brush strokes where
pine forest, shows the foreground trees necessary; (4) pine twigs and small
lightest in value, as these are receiving branches were scratched out of the dark
the brilliance of the sunshine from the with a razor blade; (5) foreground shad-
right side. As the other trees in the ows and underbrush were painted with
middle and background recede in space, swift strokes, to produce texture and
their forms become less definite and an effect of strong sunshine.
the values darken. Depth has been Finally, look for the "optical path" that
achieved by the sunlit foreground, the compels you into the depth of the
dark shadow of the middleground, and forest,by the open passage formed by
the medium dark of the background. the crown of the dark trees in an "S"
The order of painting this picture was form movement.

25
WILLOW EVERGREEN

MAPLE BIRCH

SYCAMORE PALM

ELM OAK

POPLAR MONTEREY
CYPRESS

26
 TREES
1. WILLOWS

2. EVERGREENS

3. MAPLES

4. BIRCHES

5. SYCAMORE

6. PALMS

7. ELM

8. OAKS

9. POPLAR AND ASPEN

10. MONTEREY CYPRESS

27
 TEN VARIETIES OF TREES
In seasons when a tree is devoid of brilliance of the maple. Neither could
foliage, its basic structure of trunk, the birch be overlooked, with its slender
limbs and branches is most clearly seen white trunks and branches accented
and may be studied to advantage. It is against a dark background.
on this framework or skeleton that its The sycamore was selected for its

leafage grows. From early spring when decorative character, the trunk of which
the buds sprout into tender leaves to has a mottled pattern, like the hide of a
the mid-season when the foliage reaches Dalmatian. It is frequently found along
its full growth, the color changes are creek beds, where mingled among other
gradual. Similarly, when fall comes, trees, it creates an arresting pattern.
trees like the oak, maple and elm turn Its limbs have a lightning-like quality.
in their somber green coats for a new Palm trees are associated with antiquity
raiment of dazzling hues, until at last especially with Egypt and the Nile. In
the season changes again, the leaves the semi-tropics of our farthest South-
fall, and nature's cycle is completed. land they grow along the shoreline of
The ten varieties of trees included in the coast, where their rhythmical trunks
this book have been selected from three and individual foliage form dominate
major sections of the United States — the landscape. Winslow Homer, fre-

New England, the Far West, and the quently regarded as our greatest water-
South. No attempt at survey has been colorist, included the palm in many of
made in this restricted group; instead, his paintings made in the Bahamas.
I tried to include familiar trees which The stately elm. How often this tree
are often found in contemporary land- has featured in our American
been
scape paintings. literatureand in our landscape art!
The willow, tracing its ancestry from Threatened with destruction some years
Biblical time and mentioned in the ago by the Dutch tree blight, but
Psalms, is one of the most romantic of miraculously saved by an alerted con-
trees. Its picturesque form is usually servation program, its graceful quality
encountered along narrow waterways, is undeniably linked with our urban as
millstreams, and in meadows. well as our rural heritage. The chestnut
Evergreens, which is the common term tree has been irretrievably lost to the
for the pine, fir, spruce and sequoia, American scene.
are found in many sections of the And now, finally, we include two vari-
country on the mountains and hills, as eties of oak — the Northern oak and the
well as in the lowlands. Their hardy live oak of the South. Picturesque and
forms could not be neglected here, nor powerful in form, the Northern oak is a
could I bring myself to eliminate from dominating motif in all seasons. For-
a general list the graceful poplar and midable in appearance, it cannot be
aspen, and the rugged picturesqueness ignored. The live oak, with its dripping
of the Monterey cypress. Spanish moss, is as much a landmark of
A New England landscape, especially the deep South as the graceful archi-
in the fall, is unthinkable without the tecture of the Old Dominion.

28
/ -^

29
 THE WILLOWS
When out sketching in the country, the succession of strokes, to indicate the
artist often encounters the graceful modeling of the thin branches. The
willow growing along creeks and river lacy character of the branches may be
banks where the soil is moist. Or from easily seen in the illustration and ac-
the vantage point of a hilltop he can counts for its typical form. The texture
see rows of them, decorating a curving of these strokes is shown below.
stream as it winds into the distance. The order of painting the same tree in
Of the several varieties, the white full leafage is started first with the
willow is the largest. Often several square-end brush, modeling the forms
heavy limbs are found growing together, with dry-brush strokes, and again, light
forming a thick dark mass at their base. enough in pressure to deposit the pig-

This is illustrated in the examples found ment irregularly on the top of the rough
reproduced on page 29, at the top. paper surface. While these areas are
In the illustrations on the opposite still wet, the branches and limbs are
page, at the top, are shown the white indicated,and finally, the dark trunk.
willow without its foliage (on the left); The weeping willow forms were painted
and next to it, the same tree with its in the same manner. When the tree is
full leafage. Below these, in the same without foliage, work from the trunk
order, is shown the weeping willow. upwards— first the trunk, next the main
Note that in the white willow the small limbs, and lastly, the lacy formation of
branches and twigs project upward, the twigs. Full foliage is painted advan-
while in the weeping willow, the termi- tageously from the top down.
nal twigs grow in long drooping spirals To demonstrate even more clearly my
producing its mournful expression — and general remarks about these two willow
hence, its name. varieties, turn back to the simple com-
In spring, the willow leaf is a tender positions on page 29.
green-yellow, gradually turning to a The one at the top, showing a clump of
silvery green in summer. In winter, its white willows reflected in a stream,
branches have a yellowish tone, provid- represents this variety in a common
ing an attractive note in contrast to circumstance. With their heavy trunks
snow and the deep brownish color of its darkest in value at the base, and their
textured trunk. foliage growing in radial movement
The technique for painting the white from the branches, the sprawling design
willow without foliage is as follows: of the overall pattern has great interest.
first, make the usual but carefully Below, a group of weeping willows is

drawn pencil draft; next, paint the seen silhouetted against the light sky,
darkest value of the trunk and main in marked ac-
with the winter tracery
limbs; and then, the medium values cent. Note how effectively the low
with the square-end brush; when dry, horizon and group of farm buildings
take a finely pointed brush saturated have forced the eye to return from the
with color and drag it lightly over the vertical lines of the trees to the hori-
rough texture of the paper with a quick zontal movement of the ground plane.

30
 1 'ffi

^ •'/^•;.

;\

31
 In this close-up of a rugged white wil-
low, I have shown the twisted upward
movement main limbs and
of the
branches, out from which the slender
twigs may be seen sprouting in vertical
profusion. Twining around the large
limb to the right is seen a vine -often
the dreaded poison ivy — which, in its

contrasting color and leaf form, add a

sparkling note of interest for the painter.

32
WILLOW ROAD (overleaf)

33
 w ^r - -.

\
.

WILLOW ROAD

The arrangement of my watercolor Raw Sienna, French Ultramarine Blue,

Willow Road, reproduced in color here Davy's Gray and Hooker's Green No. 2.
and shown above in a partially finished The order of painting this picture was
state, has been composed with an off- as follows. The dark tree trunks in the
center triangular arch of dark trees. foreground were laid in first with direct
The forms of the dark foreground strokes as dark as I could make them,
willows create an interesting pattern of without losing transparency of color.
oblique movements with those in the Next, the road and bushes in the fore-

middle plane in counterbalance. The ground were related in color and tone.
misty color of the prevailing atmosphere To create the illusion of the incoming
is enhanced by the mud puddle in the fog and at the same time to produce the
left foreground, which provides a spar- proper color and value, I subdued the
kling accent of value contrast. green-yellow in the middleground by an
For paper, I by
selected a full sheet (22 admixture of Davy's Gray.
30) of medium rough D'Arches, which I The sky area was painted at the very
described on page 3 as being off-white, last with spontaneous strokes, leaving
and ideal for this type of atmospheric white patches here and there. A thin
picture. My palette was set with a wash was applied at the horizon to
restricted, but carefully chosen group soften and blur the forms, obscured by
of fine colors, namely: Burnt Umber, the mist of the fog.

35
 EVERGREENS
The Eastern White Pine is a stately desired form with the flat side of a knife
tree, conical in shape, with a brownish- — but do not scratch the surface.
grav trunk tapering gradually from the The Limber Pine is found in high
base. The branches, growing horizon- elevations on exposed rocky slopes,
tally from the trunk, support the long, ridges and canyons. At the timberline,
blue-green needles which grow in clus- it resembles a dwarf shrub, often gro-
ters. The crown is irregular, in painting tesque in form. Needle clusters are dark
this tree, brush in the main masses of gray and green; the trunk, silver-gray.
the foliage leaving the trunk white Paint the dark upright trunk, giving
paper. While these passages are still special emphasis to the reflected lights;

damp, model the edges of the foliage next, the horizontal trunk, crawling
with a hne-pointed brush, and when along the ground, with dry-brush
dry, complete the form of the trunk strokes; lastly, the foliage, with the
and branches. pointed brush.
To obtain the three-dimensional form The Sierra Juniper illustrated here ( and
of this, and all other trees, remember also the two examples on page 23)
well that the branches and foliage grow grows in high altitudes in dry, gravelly,
(see plan, opposite) around the whole or rocky soils in the mountain region of
trunk-not, just left and right. This is the Far West. Many are only 20 to 30
shown clearlv in the small illustration feet in height with a short, abruptly
in the center, to the right. tapering trunk, often divided into two
Next, the Alpine Fir. This tall slender or more thick forks to form a low broad
tree, growing at the timberline, often crown. Their enormously large surface
attains a height of 100 feet and termi- roots ramify into the dry, rocky soil.

nates in a Gothic-like spire. Its foliage, Here, the foliage of the crown was
also blue-green in color, is made up of painted first, using dry-brush strokes on
small needles. The trunk has an ash- the edges, leaving white paper for the
gray color. sunlit and windswept limb. The trunk
The W'hite Spruce grows from sea level was indicated with darkest values first,
to altitudes of 5,000 feet. Like the again in the "dry-brush stroke tech-
Alpine Fir, it has a straight central nique," and finally, the details of
trunk, pyramidal crown, and its thick foliage and branches were modeled.
heavy branches sweep gracefully toward The tremendous scale of the Giant
the ground. In color it is similar to the Sierra Sequoia shown in the illustration

fir. To paint the spruce, or draw the

fir, in contrast to the house and other trees
general silhouette in pencil and indicate is not exaggerated.
the middle values of foliage with hori- The fluted trunks of the Sequoia are
zontal brush strokes. When dry, paint reddish-brown and the foliage, a warm
the dark values of foliage and trunk. dark green. Paint the masses of foliage
To produce light accents on the trunk, first with dry-brush strokes, next the
wet the area with a brush allowing the dark value of the background forest,

paint to dissolve, then press out the modeling the giant trunk last.

36
LIMBER PINK GIANT SEQUOIA
3-7
 GRAND VALLEY, COLORADO
Grand Valley presented in full color on French Ultramarine Blue, Hooker's
page 40, and above, in its skeleton out- Green No. 2 and Alizarin Crimson made
line with the first important patterns up my palette.
brushed in its background, is more of an To achieve the particular effects de-
open composition than Willow Road. In sired, first the snow-covered mountains
the present watercolor, the winding were painted. Secondly, the hill covered
stream leads the eye to the point of with trees in the left background was
interest (the snow-capped mountain). painted, and then the evergreens to the
The linear structure easily seen above, is right were laid in with dry-brush
an "S" form lying down, in the long per- strokes, followed in order by the middle
spective route of the stream. Note the distant meadowland, and the ever-
placement of the disappearing water- greens and river bank to the left-
course in the distance and the mountain leaving the dead trees white paper,
peak- both off-center. Further, the which, when the surface was dry, were
light, restful horizontal cloud forms modeled with emphasis on their cylin-
accentuate the depth of the sky. drical shafts.
The original, measuring1 5 by 20 inches, The water reflections and right bank
was painted on a half sheet of medium were brushed in and finally, the sky.
rough Royal Watercolor Society paper. The use of warm foreground colors
Burnt Umber, Raw Sienna, Cobalt Blue, achieved the illusion of great distance.

38
GRAND VALLEY, COLORADO (overleaf)

39
LOCH VALE, COLORADO (overleaf)

42
 LOCH VALE, COLORADO

The focal point of my watercolor Loch painted the dark mountain form on
Vale has been placed off-center, con- the right side with direct, spontaneous
centrated on the snow patterns in the strokes, leaving patches of white paper
mountain peaks. The overall design is to represent snow patterns. Later these
made up of angular forms, in which the were qualified in value and xolor to
large mountain mass on the right is effect shadows and distance. The moun-

counterbalanced by the tree trunk in tains in the background were painted

the foreground, and further— by the next in succession, from the nearer one
slant of the snow bank, from left to to the farthest sunlit peak. Note the
right side. reflected light effect on the shadow side
A full sheet (22 by 30 inches) of medium of farthest jagged snow peak.
rough D'Arches paper was used in Now the snow patches on the mountains
painting this picture. My color scheme and the snow bank in the foreground
was evolved from a palette of French were painted with the proper washes.
Ultramarine Blue, Cobalt Blue, Cer- The dark accents of the foreground
ulean Blue, Alizarin Crimson, Raw tree trunk and middle distant pines
Sienna, Burnt Umber and Hooker's were indicated with spontaneous strokes.
Green No. 2. At the last, the square-end brush was
Following the pencil pattern clearly used for the sky washes, leaving light
seen in the illustration above, I first paper patterns for the clouds.

43
 THE MAPLE TREE
One of the most attractive trees for the areas are still wet, strike in the dark
painter is the sugar maple, especially in trunk and branches, giving special em-
its New England setting in the fall phasis to the definite shadowed forms,
season when its dense leafage turns into which are shown in the illustration.

a blaze of color — rich yellows, bright To paint this same tree without foliage,
orange and red. Because of its closely- you will also need a pencil draft. Notice
woven foliage it makes a good shade the rapid diminution of the trunk as it

tree. divides into a series of long limbs,

When seen growing in the open, this which in turn, taper graduallv to the
maple has a short trunk and a sym- outermost twigs. Using the edge of the

metrical, rounded crown. From its cen- square-end brush, indicate the trunk
tral trunk, its limbs grow in an upward and main branches first in the dark
movement as seen in the illustration values. Do not continue these strokes
opposite, at the top, right side. In to the top, as the lacy character of the
forests, the maple has a long trunk and terminals requires a different stroke. For
a relatively small crown. See illustration. this pattern, you will find that modeling
In the fall, when its leaves begin to the fine forms in light, quick dry-brush
drop, it sheds its foliage from the top- strokes working inward from the outer
most branches first, gradually "undress- edge will give you this desired effect.

ing" to the bottom! This condition of The painting technique of the tree in
partial fall raiment is particularly in- partial foliage, shown at the bottom, is

teresting to paint, for it creates a a combination of the procedures of the

contrasting pattern of bared branches and second examples, and painted
first

and rhvthmical layers of colored leaves. in thesame order. Brush in the foliage
Turning to the illustrations opposite we forms first, then the dark shadowed
find first, the maple fully covered with trunk and limbs — and at the last, the
foliage in its usual contour. Only a few same dry-brush strokes to model the top
"sky holes'' appear, revealing a pattern branches and twigs as previously de-
of branches in dark shadow. To paint scribed for illustration number 2.
the maple in this state, make a well- When maples grow in a stand, as pic-
studied pencil outline, noting first its tured in the forest composition opposite,
general shape and then its supporting they exhibit the longer trunk mentioned
structure. Indicate the lavers of foliage at the beginning of this chapter. In
masses, remembering the advice about painting such an arrangement as this
the foreground and background forms. one, produce the background pattern
Now, take up your square-end brush of trees first, in the middle value as
and start working at the top of the shown. Brush in the dark foreground
crown with spontaneous strokes — estab- tree and shadow next, and then the
lishing the darkest values first. Continue lighter-valued foliage in sunshine. De-
the painting downward, using the dry- tails of branches should be left to the
brush stroke technique to produce the last, taking care not to use more than
soft edges and textures. While these necessary for an artistic design.

44
45
 AUTUMN IN VERMONT
The arrangement of my watercolor er's Green No. 2, and Aureolin Yellow.
Autumn in Vermont has a strong dark I painted the sky first with spontaneous
and light pattern. wash strokes, and then began working
A high horizon, with a series of rhyth- on the pattern of sunlit, distant hills.
mical hill forms lead the eye to the deep The whole middle shadow was
area in
foreground where the focal point of done rapidly with a very wet wash and
farm buildings, the "flaming maple" plenty of pigment to model the darkest
and the barren tree are silhouetted in pattern of trees. While this was still
light against this background. Further, damp, I modeled the rooftops of distant
the barbed wire fence descends gently barns and tree trunks with the "pressed
from left to right in a winding curve, knife" technique described previously.
leading to the same principal motif. Next, the red maple and barns were
Brush strokes used in painting the slop- painted in the high key of bright sun-
ing field accentuate the perspective. shine. The foreground was now painted
D'Arches paper, 22 by 30 inches, in a up to the edge of the curving fence line
medium rough surface was used. in the immediate foreground— and fin-

The colors used were: Cobalt Blue, ally, the fore plane with its accents of
French Ultramarine Blue, Vermilion dark fence posts and bush. I used a
Red, Cadmium Yellow, Alizarin Crim- razor blade to produce the finest

son, Burnt Umber, Raw Sienna, Hook- branches in the maple and dead tree.

46
AUTUMN IN VERMONT (overleaf)

48
GOLDEN MAPLES (overleaf)

49
 GOLDEN MAPLES

The brilliant autumn foliage of these ing of the brilliant foliage. This action
maples has an irregular pattern and called for direct strokes, keeping the
shape, requiring a light, transparent wash thin and taking advantage of the
quality of wash. Note that individual rough surface of the paper to create
leaves do not count — only the masses. textures. My square-end brush was
Again, I used D^rches paper in the used on the flat side but without allow-
heavy 300 pound weight, and for this ing its rapid strokes to make hard,
watercolor I painted on a half-sheet of mechanical edges.
rough surface, 15 by 20 inches. When this foliage area was dry, the
My palette was composed of Cadmium dark trunks and branches to the left
Yellow, Aureolin Yellow, Raw Sienna, were blocked in, followed by the im-
Burnt Umber, Alizarin Crimson, French portant foreground shadow, and the
Ultramarine Blue, Cobalt Blue, and tree trunk at the right.
Hooker's Green No. 2. In this reproduc- The illustration above represents the
tion, the largeness of the individual picture at this stage. And now in order:
patterns makes it comparatively easy the barn, surrounding trees; the yellow
for the student to determine the color sunlit hillside, distant hill, and sky. The
mixtures. white paper patches left around the
A rough pencil outline indicating the edges of the foliage, create a brilliant
main masses only, preceded the paint- light shimmer.

51
 THE BIRCHES
Of the many most
varieties of birch, the advice just recommended could not be
common are the Gray Birch and the conveniently followed, as the inter-
Paper Birch. These are found growing woven trunks and branches would have
singly or in clusters in northeastern made it a difficult task. To secure the
United States. And although they pre- same result, I resorted to the use of
fer moist soil, we often find them along liquid rubber (latex), with which I

the edge of forests and in pastures. painted in the forms. Following this
The Gray Birch is usually not a tall procedure,I brushed in the dark back-

tree. The crown is usually narrow and ground right over the latex pattern
open with dark green foliage. Its bark and when dry, rubbed it off— leaving
is a grayish-white on the mature tree the same kind of white silhouette I had
and has a rough and irregularly-broken created in the first illustration. Details
surface of dark patches. In winter, of trunk and branches were modeled
minus its foliage, the lacy character of with a pointed brush, similar to the
the tree is seen to advantage. willow branches on page 31.
Although resembling the Grav Birch In painting the cluster of birch trunks
generally, the Paper Birch is a much in the close-up (illustration No. 3) I

taller tree. With age, its crown is broad again brushed in the dark background
and open with a few large limbs, and of the barn around the bases. When
many horizontal branches and flexible dry, I painted the trunks individually
twigs. Its paper-like bark has a chalk y- by wetting each trunk area with water
white surface, broken with irregular, and modeling the rounded surface with
horizontal textures and dark scars. a moist brush loaded with pigment —
On the opposite page, I have pictured working first on the right or shadow-
the birch in several aspects, but in each side of the tree. When each of these
case I have exploited its light trunk and was painted and dry, I indicated the
branches by foiling these against a dark dark patches with dry-brush strokes;
background of building or hillside. also the fine horizontal markings.
The first illustration at the top, left, The last illustration shows a dark back-
was produced bv striking in the shadow ground in which are indicated a group
side of the barn with a dark value, of light trees in shadow, created by use
leaving a white paper pattern of foliage, of knife strokes worked in the damp
trunks and branches. The foliage tex- area. The close-up of the birch to the
tures were modeled next with dry-brush right was painted in the technique de-
strokes of the square-end brush, and scribed on page 19, except that in this
the trunk and branches painted with a instance, I was careful to get the pig-
pointed sable brush. ment on the central group of hairs of
It is a good practice in painting light the square-end brush, keeping the flank-
colored trees to work the dark back- ing ones saturated with plain water. A
ground around their forms, producing good, sure vertical stroke produced the
in the first instance a white silhouette. resultant rounded trunk form, on which
However, in the next illustration the was worked the dark textures and scars.

52
;^*'#&
saw it- -Jr/Ty
:
' A '

53
 ALONG THE ROAD IN NEW ENGLAND
The strong verticals of trees in the fore- light passage of clouds over the moun-
ground both left and right, connecting tain peak the white of the paper. Then
by powerful horizontal shadows, form coming immediately to the foreground,
a natural frame for the focal point. An the mass of trees to the right was
informal balance has been achieved by brushed in along with the horizontal
the greater number, or mass, of trees on shadows. The illustration above repre-
the right, with the geometrical form of sents this stage. Next, the mountain
the barn accenting the middle distance. was painted, again leaving the pattern
The perspective lines of the road lead- of trees and barn white paper, and then
ing into the picture increase the depth. this area was painted in turn. Moving

My paper— D'Arches, 300 pound, med- to the foreground once more, I modeled
ium rough— was used in a half-sheet, the large sunlit birches, the foliage, and
15 by 20 inches. Aureolin Yellow, Ver- the road itself— all with dry-brush
milion Red, Alizarin Crimson, Raw strokes.
Sienna, Burnt Umber, Hooker's Green Notice the "drag" edges produced by
No. 2, Cobalt Blue, French Ultramarine the dry-brush stroke, especially along
Blue, and Cerulean Blue formed the the high-lighted surfaces. Also, the tone
palette for this picture. of the sky, darkest at the top, left, and
I began the painting with the sky area. lightest at the right, indicating the
A graded wash was used, leaving the direction of the illumination.

54
ALONG THE ROAD IN NEW ENGLAND (wer/w/)

55
BIRCHES AT FOREST'S EDGE (overleaf)

58
 BIRCHES AT FOREST'S EDGE

The rhythmical pattern of these grace- mass to the left; then the background
ful birch trunks forming a strong ver- trees that fall behind the shed of the
tical accent, dominate the watercolor. sugar house, also to the left. At this

Space depth was realized by receding point in my painting, the design of the
scale of the tree trunks. Dark middle values is represented in the mono-
and background forms provided a nat- chrome illustration above. Notice that
ural foil for the luminous birches. This the three vertical birch trunks on the
contrast is particularly evident on the left are white paper silhouettes. Con-
left side, where the slender birch is tinuing the background passages, I

completely silhouetted against the dark painted the sugar house and trees to the
tree trunk. right. The shadows on the house exhibit
Again, I used a half-sheet of D'Arches warm reflected lights, which I have
in the rough surface, 300 pound weight. accentuated here.
My colors were: Aureolin Yellow, Ver- The sloping ground plane was modeled
milion Red, Alizarin Crimson, Raw largely with vertical strokes to indicate
Sienna, Raw Umber, Cobalt Blue, the grasses, with the largest scale of
French Ultramarine Blue, and Hooker's these in the foreground. Finally, the
Green No. 2. important forms of the birches were
I began with the darkest tones first, modeled in the manner previously de-
blocking in the middle distant tree scribed on page 52.

59
 THE SYCAMORE
The sycamore is a massive tree with a working upward, using a "juicy" brush-
tall trunk and a wide-spreading crown. ful of pigment, and graduating the
Its branches reach out in all directions value scale in conformity with the
at sharp angles from the trunk, twisting tapering movement of the trunk. Strike
and turning in short and long curva- in the limbs and branches last, creating
tures. The trunk, usually large at the the lacy character of the outermost
base and tapering quickly, is dark twigs with dry-brush strokes. To secure
brownish-green at the base. This color the effect of foreshortened limbs and
changes to a lighter, mottled and deco- branches, vary the pattern of lights and
rative pattern, finally becoming a glis- darks as represented in the illustration.

tening cream color, decorated irregu- The close-up of a typical svcamore,

larlv with dark blotches. illustrated to the right, has been pre-
Found east of the Mississippi, except in sented show the structure of its
to
Florida, the sycamore is a picturesque sturdy base and the decorative character
tree under all conditions — and espe- of its spotted bark. The twisted limbs
cially, when it is seen dominating a are clearly shown, as they create a
landscape scene. lively movement towards, and away
To paint this tree, begin bv making a from, the observer. In this situation,
well-delineated pencil sketch of a par- some limbs are dark (in shadow) and
ticular svcamore — like the one shown others are light, but all affected by the
opposite, at the top to the left. With direction of the sun, which, in produc-
the flat side of the square-end brush, ing cast shadows, helps to model the
start with the crown and work down- form of the trunk, limbs and branches.
ward, keeping the surface lively, the In painting this illustration, I first wet
strokes spontaneous. Let the white the surface of the trunk. Into this

paper form the pattern of the trunk and saturated area the color was floated in,

limbs by working around their forms and simultaneously, the rounded form
with the background masses, intercept- of the trunk was roughly modeled.
ing them here and there to indicate the While this was still damp, I modeled
nearer foliage. the start of the connecting limbs.
To produce the necessary depth and After these washes were dry, the dark
dimension, superimpose the dark ac- accents of shadows were added, and
cents of shadowed foliage. Now, model next, the modeling of the light-colored
the base of the trunk with a middle limbs and branches. A dark, superim-
value and add the final details. Observe posed wash was used to "anchor" the
in this illustration the worth of the dry- base and to produce the mottled char-
brush stroke in handling the edges of acter of the spotted bark surface.
the foliage masses. The and finest branches and
lightest
Painting a sycamore without foliage twigs were done with a small, round
requires a reversal of the procedure out- sable brush, using scarcely any water,
lined above. Here, I recommend start- "dragging" the strokes lightly over the
ing at the massive trunk base and rough paper.

60
 ; }

2&c

61
 PENNSYLVANIA FARM

In the present watercolor, I exploited My order of painting began with a light

a low horizon to give dominance to the wash in the sky area. Next, I painted
massive sycamore on the left silhouetted the large sycamore on the left, in the
against the sky, and balanced on the manner described on page 60; and then
right by a smaller vertical tree. The the dark vertical tree on the right.

architectural forms provided a stabiliz- Background hill, dark pine, farmhouse,

ing contrast to the active movement of and barns were then indicated, followed
the sycamore's branches. by the distant field and trees. The strip
The dark pine accents the sunlit side of of middleground in sunlight was left as
the farmhouse at the focal point, as do a white paper area in this stage of the
the perspective lines of the road and painting. Then, the shady foreground
fence. A puddle in the left foreground of field and road was indicated, leaving
added a note of interest. untouched the water pattern of the
My paper was D'Arches, 300 pound, in puddle. At this point, with my value
the medium rough surface, 15 by 20 went back
scale well established, I to
inches. Eight colors were used, as fol- work on the middleground bathed in

lows: Cobalt Blue, French Ultramarine strong sunlight, using high-keyed color,
Blue, Raw Sienna, i\ureolin Yellow, in thin washes. Finally, the puddle and
Burnt Umber, Hooker's Green No. 2, the dark pattern of the fence to the
Alizarin Crimson, and Vermilion Red. right were brushed in.

62
PENNSYLVANIA FARM (overleaf)

64
 THE PALMS
The palm tree has been associated with belong in one group, among which the
the ancient world centuries before palmetto is a well-known example.
Christ, largely through the cultivated Others have the feather-shaped leaf and
art of the Egyptians and Babylonians. belong in the second category. The
In the United States, this decorative Royal palm and coconut palm are of
tree grows in the semi-tropics of our this variety.
Deep South, where it is used for its For the artist who delights in painting
attractive appearance in gardens, parks, in the semi-tropics, these forms are an
and along avenues. Apart from its orna- important part of his knowledge. His
mental grace, its leaves supply the practice in painting them will lend
natives of the tropics with thatch for authority to his efforts.
the roofs and walls of their houses; In the illustrations on page 66 I have
mats, fans and hats; and from certain shown a close-up view of these two
species, come food in the form of coco- major leafforms— the fan-shaped on the
nuts, dates and oil. left, representing the palmetto; and the

In general, the palms have strong cen- feather form of leaf of the Royal and
tral stems from which the leafage grows coconut palms, on the right.
radiantly to form graceful crowns. To paint the form of the palmetto leaf,
Those that display a fan-shaped leaf I recommend using the round, pointed

65
 WWltor*

PALMETTO LEAVES COCONUT PALM LEAVES

brush and modeling the form from the and while wet, a vertical stroke with
center of growth outward, "lifting" the the brush full of pigment modeled the
rapid strokes at the terminals to pro- shady side as seen below. Note that the
duce the pointed ends. extreme right side has a lighter value
For the feather-like form on the right, due to reflected light from the sky, sun-
I used my square-end brush working lit ground, etc. In the one at the top,
from the center of the stem outward the tree trunks were modeled in the
with a series of dry-brush strokes in close same procedure; to indicate the texture
formation. To produce a light form of of the trunk, dry-brush strokes were
leaf against a darker one behind it (as used on a dry surface.
shown), I used the pointed brush to The illustration at the bottom, to the
outline the lighter leaf. left, shows the typical form of the dead
On the opposite page, you will find a leaves clinging to the trunk of the
number of characteristic palm trunks. palmetto in a closed, umbrella-like
The one at the bottom, in the center, is fashion. To the far right, I have pictured
shown here to represent stage 1 in the the characteristic basketwork texture
painting of a trunk. First, the trunk of the remnants of dead and dried
area was brushed in with clear water, stubs, below the crown.

66
PALMETTO TRUNKS
67
 THE PALMETTO

To paint this tree in large scale, as pencil drawing in outline, indicating

shown in the illustration opposite, I the strong bi-symmetrical character of
recommend that the student pay par- the whole form. Start the painting with
ticular attention to the following: first, the darkest pattern of the foliage, work-
the general form that has a fairly heavy ing around the sunlit leaves. Now paint
trunk, from the top of which the stems, the trunk in the manner described on
holding the foliage, grow in long radiant page 66.
movements from the center; next, to ob- The small illustration, to the right of
serve the three-dimensional aspect of center, shows clearly the construction
the crown, wherein the masses of foliage of the stems growing out from a central
in the front usually appear as light pivot. Notice the perspective of each
forms against the dark ones behind fan-shaped mass of foliage.

them; and finally, the important silhou- The other small illustrations indicate
ette forms that tie the whole tree the necessary simplified forms as each,
together. in turn, becomes smaller and smaller
With these facts in mind, make a rough in scale.

68
PALMETTOS

69
 THE COCONUT PALM

The Coconut Palm is one of the most

outstanding species. With its tall slen-

der trunk, flared at its base and bending

in a long curve to its wind-swept crown,
the overall effect is truly majestic. Its
leaf forms, like long feathers, sway out-
ward and downward in gentle sweeps,
as pictured in the illustration.
In the large palm, you will see the im-
portant use of the dry-brush stroke and
the effective accents of high-lighted
leaves. The use of a low eye level
throws this group of trees into dramatic
prominence.

70
COCONUT PALMS

71
72
ST. PHILIP'S CHURCH, CHARLESTON, S. C. (overleaf)

73
 j

ST. PHILIP'S CHURCH, CHARLESTON, S. C.

As you can easily imagine, most times palette contained Vermilion Red, Cad-
of the dav and night, this busy thor- mium Yellow, Raw Sienna, Burnt
oughfare was crowded with people and Umber, Hooker's Green No. 2, Cobalt
traffic. My pictorial concern was not Blue, French Ultramarine Blue and
with traffic but with the architectural Alizarin Crimson.
forms converging on the motif— St. My order of painting began with the
Philip's Church. To achieve this effect, sky with the slightly darker value at
I left automobiles out of the picture. the top. This, I might add, was never
In design, this picture is composed of touched again; its spontaneous brush-
geometrical, vertical masses of archi- work satisfied me. Next, the shadow
tecture, relieved bv the counter forms side of the buildings on the right, leav-
of the palmettos and the restful hori- ing the palmettos a pattern of white
zontal of a simple sky. Perspective lines paper. Now hand palmetto
the left in
of road and buildings lead the eye to the foreground, worked from dark to
the facade of the church, where the lio;ht; then the buildings on the left,

strong sunlight has accented the white bringing me to the important focal
pillars of the portico against its shad- point of the church, which was com-
owed background. pleted with special regard for its scale;

My paper- D 'Arches, 300 pound, med- and at the last, the trees to the right,
ium rough, in size, 15 by 20 inches. The the street and the figures.

75
 THE ELM TREE
Throughout New England the elm is a that it has a three-dimensional aspect.
favorite tree. Its graceful form, attrac- Now we come to the street scene at the

tive in all seasons, has a nostalgic flavor, bottom of the page, opposite. Here I
since it is so often identified in the have described in graphic terms, a New
memory with the quiet way of life of England village street with rows of age-
our historic villages. In these places, old elms, casting long shadows from the
the elm often lines the streets with its afternoon sun across the road, and onto
crowns on either side intermingling, the faces of the houses on the right.
forming a natural arch and gentle shade. Notice the scale of the trees in the fore-

Its structure is V-shaped, with its heavy ground; see how those in the middle
limbs and branches tapering in gradual distance and background diminish in
diminution to form a round-shaped value and girth.
crown. In summer, its foliage is dark In painting such a watercolor composi-
green, changing to the cadmium hues tion as this, it is advisable to start with
in the autumn. Barren of leaves in the a well-planned pencil sketch with full

winter the graceful proportions of the regard for the perspective, for this not
elm exhibit themselves in their stark only affects the architecture, but the
tracery. road, fences, and trees as well. Now
In the diagrams on the opposite page, begin with your color and paint the
at the top, I have purposely avoided elms in the foreground — first the foliage,
painting a portrait of a particular elm. then the limbs, and last, the trunks.
Instead the whole emphasis here has Working back into the depth from this
been placed on (1) the skeleton struc- foreground, must graduate the
you
ture in line, showing general form of values of the trees and shadow sides of
trunk, main branches and a two-di- the houses to account for the receding
mensional (flat pattern) of the foliage plane. The only exception to this general
masses, and (2) a value arrangement of rule is where deep shadows are
in spots

light and shade in simplified form to found separating one form from another
show the light, medium dark, and dark- — as may be seen in the group of tree
est tones. These masses of foliage in trunks in the left center, cast in shade
light (at the top of the crown, left) by the bulk of the house; or the small
receiving the strongest illumination, figures in middle distance- a dark ac-
gradually darken on the right hand side cent against the sunlit fence.
away from the source of light, and in Study of this picture will explain more
those under the roof of the crown, the clearly than words how important it is

value is darker still. Altogether, this to reduce foliageand branch forms to a

scheme accounts for dimension, scale simplified statement. Another thing:
and volume. By keeping this principle try to make your first stroke a final one
in mind when you are painting the elm, — both in shape and value — as each
you will avoid the error of lumping all superimposed stroke reduces the trans-
of the foliage masses into a tangle of parency and freshness, and gives a
dark color, without regarding the fact labored appearance to your watercolor.

76
 I

77
 t

NEW ENGLAND VILLAGE

My watercolor New England Village y colors — Cadmium Orange, Aureolin Yel-
shown in full color on page 80, required low, Raw Sienna, Vermilion Red, Raw
special attention in the spacing of the Umber, Alizarin Crimson, Hooker's
trees. In order to secure depth and at Green No. 2, Cobalt and French Blues.
the same time to stop the horizontal- I painted the picture in the following

like movement of the road, I introduced order: (1) the autumn foliage with the
the large tree in the left foreground. Hat side of the square-end brush work-
The little white church, naturally framed ing downward and modeling each form
between the opening of trees and foiled rapidly; then the trunks and branches;
against the middle value of the soft con- such was the stage seen above; (2) the
toured hillside is the focal point. buildings — anticipating the strong re-
The active design of vertical branches flected lights; (3) the background hill;

made it patently unwise to introduce a (4) the foreground with its large tree on
billowing series of cloud forms. Instead, the and the road; (5) the sky —
left,

I resorted to a simple oblique streak brushed in around the steeple and

which provided a quiet background and branches to torm an accenting value
at the same made a counter-
time, for the white areas throughout the
balance for the road.The paper used composition.
was D'Arches, medium rough surface, Note especially the reflected light in the
300 pound weight, 5 by 20 inches. The
1 shadows on the trees and the houses.

7S
NEW ENGLAND VILLAGE (overleaf)

79
FARMLAND IN VERMONT (overleaf)

82
 FARMLAND IN VERMONT
The design for my watercolor Farmland Paper used was D'Arches, 300 pound
in Vermont, reproduced in color on page weight, medium rough surface, 15 by 20
81, is made up of a series of zigzag inches. For color, I used: Cobalt Blue,
movements, which begin in the im- French Ultramarine Blue, Raw Sienna,
mediate central foreground following Burnt Umber, Hooker's Green No. 2,
the edges of ground planes until they Alizarin Crimson and Cadmium Orange.
culminate in the farthest mountain The sky was painted first on a dry
peak. As a counterbalance tor these surface with a series of direct, juicy
long horizontals, the dominant vertical washes, made up of a mixture of cobalt
of the large elm on the left, plus the blue and a little burnt umber. Then the
lesser one on the right frame the accent mountain silhouettes were brushed in,

of the mountain peak. Further, the soft working from the highest (and lightest)
horizontals of cloud forms, largest at peak first, graduating the value and
the top and diminishing in scale towards color of the successive ranges. Now
the horizon, contrast favorably with came the painting of the fields — again
the angular silhouettes of the mountain progressing from middle distance to
range. foreground. At the last, the trees, fence
Notice that as the ground planes recede posts and small details were indicated.
in depth their colors become grayer and Rooftops were left white until the end,
less warm in tone. when thev were thinlv colored.

83
 THE OAKS
Among the several varieties of oak, the same procedure that I have described
Northern Red Oak and the Southern previously for painting trees is appli-
Live Oak are particularly attractive cable here. However, there is one excep-
to artists. tion that should be called especially to
The Red Oak is a massive tree, sturdy the reader's attention. That is the "sky
and powerful in form. Its broad, sym- holes" between the large masses of
metrical and spreading crown of dense foliage seen in illustration. These are
dark foliage dominates the landscape larger in area than those seen in most
wherever it is seen. When found in the of the previous trees, due to the fact
open terrain, its trunk is usually short, that the heavy limbs grow farther apart
dividing into several stout limbs from and these support masses of dense
which its long branches twist and turn foliage.

in angular movements. The large illustration of the Live Oak,

In summer, the rich foliage provides at the bottom of the page opposite, is

generous shade from the sun, and in the shown in its horizontally accented pro-
fall when its leaves turn color, the deep portion, with streamers of Spanish moss
reds and oranges delight the eye. Winter hanging from its limbs and branches.
appearance is no less dramatic, for in To paint such a tree, I use a square-end
this season the oak's beautiful structure brush and begin the painting by pro-
is revealed in its noble proportions. ducing the shadow areas of the foliage.

Turning to the South, we find the Live This action does not go beyond the
Oak which takes its name from the fact general shapes of these forms as they
that it is green the year around. A short, will be modeled more completely at a
heavy trunk divides into two or more later stage.
spreading limbs, with an overall dimen- Turning my attention to the main
sion of width at least twice its height. branches and limbs, I strike these in
Spanish moss is often found clinging to while the previous section is still damp
its limbs and branches, providing an — but as you can see, it was necessary
interesting pattern of verticals. Its warm to use a darker value to create these
gray color blends with the brownish- forms. Similarly, the trunk is painted,
green limbs and branches as it sways modeling its massive rounded shape
gently to and fro in the slightest breeze. with medium and dark values, leaving
This hanging moss has been likened to patches of white paper for the sunlit
old webs, giving the trees a rather patterns. Note also, the indications of

sinister appearance, but creates at the reflected light on the trunk and lower
same time a mellow note to the limbs.
landscape. The moss is modeled with dry-brush
On the opposite page I have painted strokes in vertical sweeps. It can also be
two versions of the Red Oak -the first modeled by using the thumb to spread
showing its full foliage, and the second, the pigment downward. Thought should
its skeleton form, barren of leaves. be given to the placement of the moss,
In painting either of these states, the with special regard for its final effect.

84
NORTHERN RED OAK

*Mfc

LIVE OAK
85
 THE GNARLED OAK

The design of my picture The Gnarled by 20 inches, was used. My palette con-
Oak began with the placement of a low tained Windsor Blue, French Ultra-
horizon. This provided me with a sky marine Blue, Cobalt Blue, Vermilion
area large enough to include almost the Red, Raw Sienna, Raw Umber, Au-
entire proportions of the large oak. The reolin Yellow, and Alizarin Crimson.
simple sky formed a quiet background The sky pattern was painted first. The
tor the active pattern of branches. A "settling" character of the darkest wash
dark shadow cast horizon tall v across at the top added texture. The lower
the road created a strong base and ac- areas of sky were kept thin and pale to
cented the sunlit area beyond it. produce distance. The twisted and
Perspective lines of road lead to the interlaced form of the oak was indicated
focal point of the group of buildings. by painting the dark shadow areas first,
Note how important the tree is in the left joining this with the warm-colored
middle distance in balancing the large branches -finally producing the outer-
oak. The light reflections in the puddle most twigs by drv-brush strokes in the
in the left foreground and the white manner previously described.
wall of the barn and white fence are Background hills and farm buildings
calculated notes of value contrast. were dealt with next; to be followed in

A 300 pound D'Arches paper in the order by the dark foreground shadow,
medium rough surface, and in size, 15 and then the middle-distant field.

86
THE GNARLED OAK (overleaf)
SPANISH MOSS (overleaf)

89
 SPANISH MOSS

The framing structure of this design is practically silhouettes, these forms,

seen clearly stated in the illustration varying in height and degrees of foliage,
above. Notice the pyramidal shape were planned carefully.
formed by the heavy branches made In painting the church next, you can
less obvious by the hanging moss. easily see the advantage in the use of
My palette for this watercolor was com- the square-end brush. This was espe-
posed of Cobalt Blue, French Ultra- cially helpful in modeling the clean-cut
marine Blue, Raw Sienna, Burnt Umber, shadow areas.Roof and clapboard tex-
Alizarin Crimson, Davy's Gray and tures were varied to add interest; spe-
Hooker's Green No. 2. Paper used was cial attention was paid the warm and

D'Arches, 300 pound weight, medium cool reflected lights. Middleground and
rough surface, 15 by 20 inches. roadway were indicated. Note that the
The large oak in the right foreground strongest point of illumination is found
was painted first, in the manner de- at the curve of the road and the ground
scribed on page 84. At the same time, plane beyond it, to the left. Con-
the cast shadow over the foreground sistently, the left-hand vertical planes
was brushed in, but terminated tem- of the church were found receiving the
porarily at the edge of the roadway. strong sunlight — making it artistically

The background trees were blocked in obligatory to leave the white paper to
around and back of the church. While form these patterns.

91
 LOMBARDY POPLAR AND ASPEN
The Lombardy Poplar is a distinctive brush strokes over the rough surface of
tree with its slender, erect posture. the paper.
Frequently seen bordering roadways in The Aspen tree, illustrated in the lower
long vistas, it is also found marking the half of the page opposite, is a variety
boundaries of farmlands. Though its of the poplar but to the average eye it

life span is short, it attains its full resembles the general character of the
height in a relatively short period. birch tree. This is true especially in its

To the artist, this poplar has several light-colored bark with its dark mark-
interesting features. Its tall, slowly tap- ings. Its main difference, however, lies

ering cylindrical form is essentially in the leaf construction, which like the

decorative. The limbs and branches Lombardy Poplar, is suspended on a

grow immediately upward in long long, ribbon-like stem and consequently
sprouts from the sturdy trunk support- trembles in the breeze — hence its pop-
ing masses of rich foliage. Often dead ular title: the quaking aspen.
limbs may be seen (as in our illustration This tree grows from sea level to moun-
at the top, opposite) creating a con- tain heights. It thriveson moist, sandy
trasting pattern of silhouettes against soils and rocky hillsides. The aspen is
the sky. Since the Lombardy Poplar is found in the Northeastern States and in
not a shade tree, its normal cast shadow the Far West. Often it grows on clear-
is long and narrow. ings which have been burned over.
Heart-shaped leaves grow on long stems In the autumn, its leaves turn from
which allow free movement, causing dark green to a golden yellow before
them to rustle in the slightest breeze — dropping. W hen
7
grown in the open (as

and producing a sound not unlike the pictured in our illustration opposite)
murmur of a rushing brook. the trunk is straight and its overall
While I have chosen to paint the water- form quite symmetrical.
color picture on page 97 in the daylight, To paint the quaking aspen, begin with
the same motif would be equally worth- dry-brush strokes and model the general
while in twilight, when these trees in masses of light-colored foliage, leaving

silhouette would create an arresting the trunks and main branches white
atmosphere. paper, wherever practicable. Branches
The painting of the poplar is similar to in shadow, and those on the far side of
that of other trees previously illustrated. the tree, will require an accenting value.
Start with the dark pattern of the In composing a group of aspens in a
foliage and then paint the trunk and particular watercolor, I suggest finding
branches — coming to the sunlit areas of a good natural excuse to foil them
the leaves at the last. By working in against a dark background— a group of
this order, you will be able to control evergreens or mountain form — so that
the values. the light trunks can be exploited.
In the illustrations of poplars opposite, Without foliage, the aspen is a slender
take notice of the textures. These were form with thin branches and twigs of a
produced by the "lifting" of the dry- reddish color.

92
 LOMBARDY POPLAR

4 /

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I

93
 ASPEN GROVE, COLORADO

My design for this picture, shown above, of the silhouette. This character, seen
is a combination of strong verticals in the illustration above, was produced
(found in left foreground, and middle- at the time of painting the mountain
ground), and a top horizontal line of the passage.
cloud in the sky and balancing obliques. Foreground plane was painted with a
Almost needless to say, the placement rich, warm local color predominating in

of these vertical tree forms in the fore- the nearest central area — to the right of
ground and middleground was very im- the two largest aspens.
portant. When the drawing of these The foreground trees modeled
were
trees was completed, I blocked out their next with special emphasis placed on
forms with latex, in order to paint a the shadows and reflected lights, leav-
continuous background of cloud and ing the high-lighted sections patterns of
mountain over them. When these washes white paper.
of sky (first) and mountain (second) Paper used was D'Arches, 300 pound
were dry, I rubbed off the liquid rubber, stock,medium rough, measuring 15 by
leaving white silhouettes, to be modeled 20 inches. Palette — Aureolin Yellow,
in "the round" as a final step. Raw Sienna, Burnt Umber, ;\lizarin

The grove of aspens in the middle Crimson, Hooker's Green No. 2, Cobalt
distance was brushed in, taking care Blue, Cerulean Blue and French Ultra-
not to disturb the lacy edges at the top marine Blue.

94
ASPEN GROVE, COLORADO (overleaf)

95
POPLARS (overleaf)

98
 «5

POPLARS

The large row of poplars that ends to the Orange and Aureolin Yellow; Alizarin
right of the middle axis, was balanced Crimson and Vermilion Red.
with a small mass of other trees at the The order of painting was begun with
extreme right. This combination was cobalt blue wash strokes for the sky,
foiled against a simple sky made up of indicating horizontal clouds. Then fol-

graduated horizontal cloud forms. A lowed the dark pattern of the poplar
low eye level helped to place the per- trunks and branches. When this part
spective accent on the form and scale was dry the foliage masses were added
of my foreground, leaving the far stretch — modeling these in light and shade and
of the background a pattern of simple varying the color from warm green in
silhouettes. Cast shadows from other the largest tree on the left, to the cool
poplars outside the picture plane, cross green on the farthest one to the right.
the roadway from right to left at an Then the background immediately be-
angle, pointing to the motif. hind the poplars' trunks, the distant
I used my favorite D'/\rches again in background, and the trees to the right,
the same surface, weight, and size as roadway was
in that order. Finally, the
in For color, I
the previous picture. indicated— largely made up of trans-
selectedtwo blues — Cobalt and French parent cast shadow patterns in which
Ultramarine; two earth colors — Raw the nearest ones show the warm local
Sienna and Burnt Umber; Cadmium color, with cool color at the edges.

99
 MONTEREY CYPRESS
The Monterey Cypress, as its name ful, symmetrical tree. It is used fre-

implies, grows in its natural habitat in quently in California for windbreaks,

a concentrated area around Monterey as its rather rapid growth when young
in California along the Pacific Coast, makes it useful for this, and also, for

from Cypress Point to Point Lobos. ornamental purposes.

Here on the rocky cliffs exposed to the To paint the cypress represented in the
strong sea winds, these cypress trees top illustration opposite, I recommend
exhibit the twisted and grotesque forms beginning with the dark mass of foliage,
that make them such fascinating motifs working around
the bare whitened
for the artist. limbs. Next, model the shadow areas
As young trees, they have conical forms of the trunk, limbs and branches — pro-
with comparatively straight though ducing the textured character with dry-
heavy trunks, and branches which grow brush strokes. Typical strokes for this
upward forming a pyramidal crown. technique are illustrated at the right.
However, from a picturesque stand- The illustration below pictures a dead
point, we are mainly concerned with its and weather-beaten cypress in a close-
weather-beaten old age. In this condi- up. In this, and in all other trees for
tion, its strong limbs as long massive that matter, the initial drawing should
arms, reach out and up, supporting the not be slighted. By this I do not mean
dense flat-topped foliage. The pyram- a highly detailed drawing, but rather,
idal crown of its youth has given way a pencil draft that concerns itself with
to a flat-topped crown, like the one I major proportions and special empha-
have illustrated at the top, opposite. sizing of individual characteristics. The
The color of the foliage is a rich dark latter is exemplified in this dead cypress.
green, with a trunk which is a brownish Without a well-planned drawing it
gray and silvery gray, when dead. would have been difficult to create the
Often the trunks and heavy limbs picturesque irregularities and the flow-
sprawl on the ground, where, exposed to ing rhythm of these textures. With such
the elements, they twist and gnarl in a a pencil foundation, the actual painting
writhing fashion. The sharp bends take was sheer pleasure.
on a form not unlike that of the human I began the painting with a dark wash,

elbow, widest at the angular turn. The blocking in the shadow areas, then
fine texture of the bark follows the moved on to the middle values, keeping
movement of these twists and may be the wash thin enough to reveal its
seen to an advantage in my illustration, transparency. At this stage, a large part
at the bottom of the page opposite. of the main forms were areas of white
Lest my readers identify this Monterey paper. By using the square-end brush,
Cypress in localities other than in Cali- separated in the fashion described in
fornia, it should be readily stated that detail on page 18, I began modeling
this tree has been planted in other these high-lighted forms with light
places, where, under favorable condi- strokes, following the rhythmical pat-
tions, its cultivation produces a grace- tern of the surface textures.

100
 s

>-

101
 AT CARMEL BAY, CALIFORNIA

In the plan of my composition, you Umber, Alizarin Crimson, Aureolin

will notice that the low horizon and Yellow, Vermilion Red, and Hooker's
shallow foreground placed special em- Green No. 2.

phasis on the dead cypress. Balancing After I had made a caretul pencil sketch
its dramatic silhouette with the mass of with special attention to the forms of
rocks, I foiled the agitated movement the cypress, I brushed in the tree with
ot the old tree against the quiet forms latex. Over this I painted the sky, with
of a calm water plane, mountain, and a warm wash at the top and a cooler
horizontally accented sky. and lighter tone at the horizon. Then
The sunlight flooding in from the right, the mountain silhouette was indicated
struck the sides of rocks producing and the latex removed.
strong value contrasts. Rich warm local And now in order: the water plane; the
color in the foreground with the silvery live cypress on the extreme left; the
skeleton of the cypress made the middle rocks, working from the far right to the
and far distance recede in space. leftand including the foreground; and
For this picture, I selected a full sheet finally,the dead cypress — brushing in
of rough Whatman paper, 22 by 30 the darks first, and finishing with the
inches, in the 300 pound weight. The middle values in dry-brush strokes, leav-
colors used were: Cobalt Blue, French ing passages of white paper to create its

Ultramarine Blue, Raw Sienna, Burnt silvery, high-lighted surfaces.

102
AT CARMEL BAY, CALIFORNIA (overleaf)

104
 PRACTICE SUBJECTS
In this last section of my book (pages light; a color scheme; and a good dark
105-111) I have prepared ten composi- and light pattern. A good intermediate
tions in pencil outline for the benefit of step to painting in color would be to
my readers. It is my suggestion these make a smaller study in monochrome,
be used as practice subjects in the similar to my sepia paintings on page
following ways. 11. This would not only provide excel-
As each of these is a variant of one of lent practice for brush strokes but
the finished pictures reproduced in color would settle the value problem as well.
and the reader has been carried through Consider the composition of old willows
the various steps of technique, he can above. I suggest that the student paint
use these layouts as a kind of spring- this one in a foggy atmosphere like the
board for his own imagination. By en- picture reproduced on page 34. By
larging these drawings to 1 5 by 20 inches using the same palette and following
on a good sheet of medium rough water- the painting order I have described, the
color paper, the reader is absolved of student will see for himself the practical
the problem of design — he must begin reasons for my procedure.
to practice the knowledge gained from The composition on page 106 has been
the foregoing chapters. laid out to provide a lesson in painting
He must decide on the kind of day and a grove of birch trees. The reader will
season; the direction and quality of the remember from our chapter on this

105
 w II —
r/TV
1

/
\

tree, that to get the most out of this Try using dry-brush strokes to model
subject, the artist needs to foil the the foliage and weather-beaten textures
light-colored birches against a dark of the trunk and limbs.
background. Notice that I have pre- For the picture of maples, I suggest
pared this opportunity, by arranging using a limited palette composed of
the trees in foreground and middle- Windsor Blue, Cobalt Blue, Raw Sienna,
ground on a sloping plane— so that a Vermilion Red and Hooker's Green
large proportion of their trunks may be No. 2. The pattern of foliage on the
accented by a dark background of hill foreground and middle distant maples
and trees. has been clearly outlined, indicating a
The Sierra Juniper on the next page late fall scene. Here is your chance to
at the top, dominates this composition. paint a colorful picture with the same
Try using the same color scheme for strong value contrasts as those found
this one as in the picture on page 103. in the watercolor, reproduced on page 80.
The sunlight, striking the foreground The village street scenes on page 108
from the right side, will give you an may be painted with a limited palette
opportunity to use warm local color— of Burnt Umber, French Ultramarine
with a dark gray blue mountain form Blue and Hooker's Green No. 2. With
in the background, contrasted with the these three colors and a little imagina-
high-lighted silvery trunk of the juniper. tion, you can try a rainy day atmosphere

106
 -

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-
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107
 "-^'
-V
V**T,

following the suggestions indicated in ly facilitate the painting of the sky.

the sepia illustrations on page 11. Do For the palm picture, you may paint a
another with a pattern of flickering tropical mood with a light atmospheric
sunlight by enlarging the palette above, sky, with a dark value for the water
to include Vermilion Red, Raw Sienna plane. The foreground tree trunks can
and Cobalt Blue. Keep the left side of be in shade with accentuated reflected
the road lightest, as the illumination is light from the warm sandy beach.
indicated in the drawing to be coming Again, the pencil drawing suggests that
in from this direction. the illumination is coming in from the
The sycamore tree opposite has been right, which should be indicated by a
brought into the foreground to give my graduated value scale — lightest at the
readers a chance to paint its striking right side.
form in large proportions. Study the In painting a watercolor from the pencil
watercolor on page 63 and follow the drawing on page 110, study the picture
same general atmosphere and color of the live oak on page 90. Similarly, I
scheme. Vary the tonal arrangement so suggest keeping your foreground dark-
that the tree will appear light against est, with the tree form largely in
a dark background. Here, I would sug- shadow, except for a spot of sunlight
gest using the latex on the trunk and hitting the base of the trunk. Model the
limbs of the tree because this will great- hanging moss as described on page 91,

108
 0S {
~^'*s-'- *

109
 — '

leaving the sky area entirely white age should be a rich dark green which
paper to the very end. Reflected lights can be painted with Hooker's Green
on the trunk and limbs can be effect- No. 2 and a touch of Burnt Umber.
ively produced by knife strokes. In addition to the definite suggestions
Since poplars are particularly interest- which I have made concerning each of
ing when seen against a light back- these ten subjects, the student will find
ground, paint the sky accordingly. Wet it valuable practice to make other
this area with water and float in the studies with: (1) various color schemes;
desired color, graduating the tone from (2) changes of light direction; (3) vary-
darkest at the top to the lightest value ing of atmospheric effects (rain, fog);
at the horizon. Give a middle value to and (4) changes of season. Finally, try
the distant mountains, a darker value to enlarge your half-sheet scale to full

to the middleground, with the fore- size (22 by 30 inches).

ground lightest. Reserve the ranchhouse In conclusion, I suggest that my readers
for an accent of light color against its make numerous outdoor watercolors,
dark background of tree foliage. applying the instruction they have
The student scheme
will find a helpful gained from studying my book. Paint-
for painting this variant of the
Monterey ing nature with knowledge is not the
Cypress by studying the color plate on act of copying, but rather a basis for the
page 103. This being a live tree, its foli- artist's personal interpretation.

110
 \

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111
 M
THE AUTHOR
TED KAUTZKY is internationally fa-

mous for his prize-winning watercolors.

He was especially proud, however, of the
many popular prizes his paintings won,
for Ted firmly believed in the kind of art
that may be enjoyed by everyone.
Kautzky's watercolors reflect accurately
the bright and cheerful disposition he
had, and his teaching has helped many
a beginner to create beautiful paintings
of his own.
Ted Kautzky came to the United States
in 1923, two years after graduating from
the University of Hungary, and became
an American citizen in 1929. After con-
ducting his own school in 1936 and 1937,
he taught for two years at Pratt Institute
in New
York and lectured at several
universities. Until his death in 1953 he
devoted the major share of his time to
drawing and painting and to writing help-
ful books for others interested in creating

good art.

PaintingTrees and Landscapes in

Watercolor is Kautzky's second book on
watercolor painting. Its creation was
prompted by the overwhelmingly en-
thusiastic response to his first book, Ways
With Watercolor, published in 1949.

Here is a list of the prizes won by

Ted Kautzky's paintings:
American Water Color Society Medal of Honor 1941;
Salamagundi Laymember Prize 1944; Allied Artists of

America, Marine Prize 1946; North Shore Arts Assn.

Watercolor Prize 1947; Rockport Art Assn. Watercolor
Prize 1948; Salamagundi Watercolor Prize 1948;
American Watercolor Society Obrig Prize 1949; Sala-
magundi Club Oil Prize 1949; Baltimore Watercolor
Club Prize 1949; Allied Artists of America, Gold
Medal 1949; Rockport Art Assn. Watercolor Prize

and Popular Prize 1950; North Shore Arts Assn.

Popular Prize 1950; Hudson Valley Art Assn. Water-
color Prize 1950; Baltimore Watercolor Club Prize

and Popular Prize 1951; American Watercolor Society

Purchase Prize 1951; Rockport Art Assn. Watercolor
Prize and Popular Prize 1951; Salamagundi Club
Auction Prize and Watercolor Prize 1952; National
Academy of Design, Obrig Prize 1952.
LEARN HOW TO DRAW AND PAINT

Reinhold art books help the professional, the amateur, and the student in commercial and fine art.

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The famous books on pencil and watercolor by Ted Kautzky are landmarks in the field of art instruction:

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Ways with Watercolor, $10.00

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Figure Drawing Comes to Life — Calvin Albert and Dorothy Seckler, $8.95

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up, perspective, and cartooning.

Pencil Techniques in Modern Design — Atkin, Corbelletti, and Fiore, $7.50

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