4) How to make the sky the main feature in your painting yet still keep the painting interesting to look at. Wet Effects are easier with watersoluble oil pastels because your wash medium is just water.
I used white into the lighter areas of the underpainting to create some clouds and made them irregular so they'd look more natural.
I also used the same wet effect, dipping the stick, to lay some purple shading into the far right hill and some blue green forest into the far left hill. In the final layer in the foreground, I abandoned further wet effects to create a texture difference between softer washed background and middle ground to a nearly pointillist foreground. When I admire the wonders of a sunset or the beauty of the moon, my soul expands in the worship of the creator. We photographers deal in things which are continually vanishing, and when they have vanished there is no contrivance on earth can make them come back again. Beauty is an outward gift, which is seldom despised, except by those to whom it has been refused.
There is no question that photography has played a major role in the environmental movement. I knew, of course, that trees and plants had roots, stems, bark, branches and foliage that reached up toward the light.
I live for those who love me, for those who know me true, for the heaven so blue above me, and the good that I can do.
The hero is one who kindles a great light in the world, who sets up blazing torches in the dark streets of life for men to see by. We should not judge people by their peak of excellence; but by the distance they have traveled from the point where they started.
I knew that I would do something interesting with it, then decided it would be perfect to continue demonstrating water related techniques. I've used several along the way to completion of this tiny painting. In a larger landscape I would have worked on cloud perspective to make the ones down near the horizon much smaller than the foreground clouds.
Both of these areas were bland in the underpainting but I knew I would detail them as I went.

I built up some dark forest with my darkest green over the middle ground and drew heavily over the middle ground grass on the right. Dipped my Size 6 round watercolor brush in clean water and then carefully worked each color area separately, keeping the foreground trees distinct from the darker forest behind them. I added new highlights to the foreground trees and worked over the grassy near hill with yellows, greens and yellow greens. I believe there are versions for Linux and Macs as well, certainly for Linux as it's open source software developed for Linux users. I hope you've enjoyed this first demonstration of Wet Effects. It's primarily just a coloring-book area by area fill-in with blue sky, purple distant hills, green foreground hills and Burnt Sienna road so that when I add oil pastels, the little flecks that show through from paper texture aren't far from the colors I'm putting over them.
This painting is so small that I would have had trouble doing that, so I let them expand a bit but didn't do a series of very small ones in the far distance. I worked on the sky first and ignored the rest of the painting because in any drawing or painting, it helps to work background toward foreground. So I took the white stick, dipped it and drew a little on the margin of the painting to get the color good and mixed in, then drew with the softened tip on the clouds. The far right hill is farther back than the far left, the hills alternate as I envisioned it when I did the underpainting.
I filled the left side middle ground hill with forest after doing some foreground trees to break the symmetry of the composition.
The green of the middle ground hill on the right smoothed and became richer without completely losing its texture. Highlights on the foreground trees darkened so in the final stage I'll restore them using brighter yellow greens over what's there. I will probably do another article exploring various oil painting mediums with nonwatersoluble oil pastels -- but whatever medium you use with any brand of oil pastels, the techniques are the same. You can take color from the stick with a wet brush and paint directly with it, treating it like a watercolor pan. Wet effects with other oil pastels are similar, the biggest difference is using oil painting mediums like odorless turpentine, Liquin alkyd medium or linseed oil to dissolve the pigment and spread it in a painterly way.
Or alternately, contrast in a pleasing manner. The first wet effects technique I used on this started with a loose application of Cretacolor Aqua Stic watersoluble oil pastels into the sky in the painting.
For one thing if this were any bigger, it means I wouldn't be dragging my hand over finished areas to work on background stuff. In addition to white, I used lavender, pink and pale yellow to give some color variation to the clouds. I added some wildflowers by pointillism, just patches of yellow, orange and pink dots between the dotted foliage of the fields. This first layer is very light, I did not try to fill in heavily because I knew I'd wash right over it and dissolve the oil pastel.

Clouds look livelier and more natural when you add subtle hues that come close to white. Next, I used a size 6 round Golden Taklon watercolor brush to wash over the sky carefully for my first wet effect.
This layer took longer to dry than the preceding wash but it made the clouds much more prominent against the blue. The dots produced by wet-stick pointillism have a different look than dots pressed in with a dry stick.
By putting more trees to the lower left, I created a diagonal area of dark that slants upward as it goes to the right, making tho whole landscape more lively.
I touched up any areas that needed work and added my signature. The difference between this image and the one I showed at the top is that I adjusted the top image using Gimp to come out truer to the brilliant colors of the little painting. Try all of these wet effects on practice pieces of watercolor paper or design a painting incorporating each of them to its best effect. I dipped the brush in clean water and wiped the point on a cloth so that it was not dripping but still loaded. This helped create more of a zigzag path for the road than it running right up the center and improved the composition.
The opacity of the dipped-stick wet effect made it easier to put a strong light color over a contrasting dark high intensity green. Watercolor artists use them for deliberate effect, tilting the board to create runs that go where they want to. That's one wet effect that takes a lot of practice and gives unpredictable results even to professional watercolorists. Thus I keep my wet effects down to simple washes over distinct areas of color for more control. The choice is yours. If you're good at watercolors any watercolor effect can be combined with oil pastels in mixed media or used in a wet effects painting.

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