01. Preparation of the underpainting

When working with oils or acrylics, it’s critical to never start with white. To establish shadows and values, begin with a burned umber underpainting or a mix of burnt sienna and phthalo blues. Acrylics, quick-drying and permanent, are probably the ideal media to employ at this point.

When using slow-drying paints, build up layers of paint from thin to thick. Working on top of heavy, wet paint is impossible. Work your way up to the highlights similarly, finishing with the brightest (and usually richest) color. To clean brushes and remove any extra paint, have a roll of dish towel available.

02. I am blocking in

Brushes come in a variety of forms and fiber types, each of which produces extremely mixed results. The key is to experiment with all of them while painting. The most versatile are synthetic/sable blends, which can be utilized with various paint kinds. Brushes come in flat and round shapes, and it’s a good idea to have a variety of both. To understand more, see our guide to choosing the proper brush.

Working with a variety of brushes is beneficial. Use larger, flatter, and broader meetings for most early work. A filbert (which opens in a separate tab) is a good all-around brush for blocking in form and painting. Its dual nature combines flat and round brush elements to cover detail and large regions. Then, at the end of the painting process, use smaller brushes.

03. Texture creation

Brushes come in a variety of forms and fiber types, each of which produces extremely mixed results. The key is to experiment with all of them while painting. The most versatile are synthetic/sable blends, which can be utilized with various paint kinds. Brushes come in flat and round shapes, and it’s a good idea to have a variety of both. To understand more, see our guide to choosing the proper brush.

Working with a variety of brushes is beneficial. Use larger, flatter, and broader brushes for most early work. A filbert (which opens in a separate tab) is a good all-around brush for blocking in form and painting. Its dual nature combines flat and round brush elements to cover detail and large regions. Then, at the end of the painting process, use smaller brushes.

04. Texture creation

This method helps stimulate rock and grass textures because it works best when applying light paint over dark areas/dried paint.

05. Sgraffito

It’s just as crucial to remove paint as it is to apply it. It’s called sgraffito when you scratch away paint while it’s still wet to reveal the underpainting. It’s particularly useful for representing scratches, hair, grasses, and other similar details.

You can do this with nearly any pointed instrument, such as rubber shaping tools or the brush’s end.

06. Glazing

Glazing is the act of applying a thin layer of translucent paint to a dried area of a painting to enhance shadows and modulate color. Green is created by layering a light transparent blue over a dried yellow.

07. Using mediums in painting

Mediums are liquids mixed into the paint to change its consistency, drying time, and texture. Acrylics come in various media that make the paint matte or glossy. On the other hand, the flat media is mostly used to seal my paper or board so that paint does not soak into it.