Goderich Sunset

Canvas: 20 x 24 inches -- Portrait formatStep 1 (right) Sky Colour1) To start the painting I used a mix of ultramarine blue, alizarin crimson, yellow ochre, magenta and white, applying the base violet colour from the top to just over half way down to the horizon line.2) Below the violet paint a deep orange red (mixing cadmium red, cadmium yellow and burnt sienna). Blend softly where the violet and orange meet to create a smooth transition in tone.The brushes I used for this stage of the painting were:Large round bristle brush (#12 Nobel) to apply the paint(criss-crossing) into the canvas, a Currys #10 flat, soft brush

Oil Painting Project: SunsetMichael Spillane

Above: Photo reference. Noticable for its sunsets on Lake Huron, the lake in Goderich, Ontario, shortly after the devastating tornado touched down in 2011.

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Finished painting

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and a six-inch roller to smooth out the paint evenly over the canvas.

3) Place a piece of masking tape along the base of the orange skyline and paint a dark layer over the bottom part of the canvas (lake area) with a mix of violet, grey, yellow ochre, cadmium red and burnt sienna.Once this layer dries, glaze over the sky area with the same violet mix with a little more white added.Repaint the orange tones of the sky with an orange/yellow gradation, starting at the bottom with the orange colour and adding cadmium lemon towards the top, blending with a #20 flat, soft brush.

Step 2 (left) At the centre point on the canvas (above the water line), paint in the sun using cadmium yellow and white (I used Escoda #1 & 2 brushes).

2) Using a stiff, bristle fan brush and a mix of cadmium red, cadmium yellow and violet, block in the dark cloud base, adding white to the orange mix for the cloud edges. For the darker tones, add more violet to the orange. (I used a #12 round,Winsor & Newton brush to “fluff” [gently tap] the cloud edges).

3) Once the layer has dried, brighten up the sun with white, cadmium lemon and cadmium yellow (Escoda # 1 & 2 brushes). I used a thick, round brush to “dab” in a darker mix over the cloud areas (cadmium red, burnt sienna, ultramarine blue, violet and grey); leave some of the lighter areas of orange and orange yellow to show through. White and cadmium lemon were again added to the orange mix for the cloud edges. 4) Glaze over the water area with the dark cloud mix.

Step 3 (below) Continue to brighten the sun and add various yellow. orange and red tones above the horizon line (using mixes of cadmium lemon, cadmium yellow and red, orange, yellow orange and white).For the darker values, add deep orange, red orange, burnt sienna (to the orange mix) and violet (again to the mix). Blend the tones horizontally, and tap and "wisp" the paint lightly to create subtle cloud effects. Tap a light mix of orange and white along the cloud edges.

2) With the same orange colour paint a light “halo” effect (or hour glass shape) below the sun. 3) Glaze over the sky again with a lighter violet mix (same colours and brushes as before) and darken the clouds by dabbing and blending with a #10 round brush. Use various mixes (as before) from dark to light values of violet, burnt sienna and cadmium red, then add more red to the mix, then more orange and progress through to yellow.

4) Increase the highlights on the clouds and sun area and, when dry, glaze the sun reflection in the water with cadmium red mixed with burnt sienna.

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Step 4 (right) Lighten and darken the various colours and values to intensify contrast as shown.

2) Block in the foreground foliage silhouette with a dark mix of ultramarine blue, alizarin crimson, sap green, burnt sienna and charcoal grey. Use small, pointed brushes for the outer leaves.

3) Darken the top part of the sky with a mix of violet, cadmium red, burnt sienna and ultramarine blue. Flare and blend cloud formations with light orange, violet, yellow and white. Glaze over the dark cloud areas with a mix of cadmium red, cadmium yellow, burnt sienna and alizarin crimson.

4) Add lemon yellow, orange and orange red (with white) to highlight the clouds; glaze over the sun reflection with orange red.

5) Using a medium-size bristle fan brush, painting knife and small detail brushes (with mixes of sap green, cadmium lemon, yellow ochre, burnt sienna and white) create greenery (leaf detail) and branches over the foreground foliage base.

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Painting Tips:For a smooth painting surface (often prefera-• ble for landscape paintings), alternate gessoing and sanding the canvas until the desired smooth surface is achieved. This may take up to five, seven, or even more layers. Use good quality white acrylic gesso and a medium smooth sandpaper (or sanding block).

When I refer to the term "glazing" throughout • the step-by-step process, I am talking about mixing the paint with enough Liquin to give a transparant film of paint to "see through" the layers of paint. Apply the glaze and then lift the paint with a clean brush or paper towel to leave just a film of shadow or colour in the glaze.

When applying base colours in a sunset painting, • first criss-cross the paint into the canvas and then smooth out the surface with a paint roller.

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Here is the completed painting and final steps.After the Storm -- Goderich SunsetOil on canvas -- 20 x 24 inches

Step 5 (left) Glaze over the foreground foliage with a dark mix of cadmium red, burnt sienna, alizarin crimson and sap green.

2) Glaze the water with the above mix but with more blue added.

3) Continue drybrushing lights and darks to increase dramatic contrast.

4) Glaze the sun reflection with a dark mix of cadmium red, burnt sienna, alizarin crimson and sap green. Glaze the water as before.

5) With a mix of alizarin crimson, charcoal grey, cadmium red, sap green, burnt sienna and ultra-marine blue, paint the foreground tree silhouette. I used a painting knife to line in the twigs and branches and then a pointed zero (0) brush for the detail and leaves. 6) Lighten the top part of the sky with more white added to the violet; wisp in light clouds as before and finish adding detail.

Supplies used in the painting

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20 x 24-inch primed cotton canvas • Small diamond-shape painting knife • Paper towels and disposable palette book• Liquin for glazing• 6-inch roller • White pencil• Low-tac masking tape•

Paints: Winsor & Newton Titanium white • Yellow ochre• Alizarin crimson• Ultramarine blue • Burnt sienna• Cadmium red•

Brushes Flat #10 Curry’s bristle brush• Flat #20 Curry’s soft brush• Medium size bristle fan brush• #12 round bristle brush• #12 round, soft Artisan W&N brush• Escoda #0, 1 & 2 pointed brushes•

Cadmium yellow• Cadmium lemon• Magenta• Charcoal grey• Sap Green•