Many years ago, I taught wildlife and landscape painting classes. This is a lesson plan from those classes.
Alla prima is an Italian expression that translates into “at the first try.” The technique of alla prima is a wet-on-wet direct method of painting that completes the painting in a single session, without previous preparation or later stages. TV artist Bob Ross paints alla prima.
The Impressionists introduced the technique of direct painting; however, Rubens used an alla prima style when he mixed his colors directly on the canvas itself without waiting for the paints to dry. The Impressionists painted their landscapes in a single session taking only three or four hours to begin and finish a picture. They tried to capture the impression of the moment by painting directly. They did not allow themselves to go back over what had already been done.
As when using any painting method, ask “Why am I painting this picture?” as you prepare to paint alla prima. If you have no answer, then you’re not ready to paint that picture. When you are ready, sketch in the drawing with a round bristle brush loaded with a mixture of blue and umber thinned with turpentine. If you’re using water-based oils or acrylics, thin your colors with water. Simplify the scene’s complexity by sketching in the main elements. Once the initial drawing is done, it’s now a question of filling in the spaces with color.
Establish the mood first, before worrying about creating depth. The mood is determined by light, so observe the color of light, then consider how to alter that color to create elements in deep space.
What color is the lightest light? A white shirt drenched in warm lamplight may be pink, orange or slightly yellow—not pure white, as you might think. Never use pure white, but white with a small amount of color in it.
What is the darkest dark? What color is it? How dark is it? Darks have light in them, so double-check your first impression. Put the lights in later.
Pick the easiest color to get right without a lot of mixing. If an object is the same color as Cerulean Blue straight from the tube, that is easy. To check a rich, bright color in nature, hold up a pure color, such as Cadmium Red Light, on the brush. Compare how lighter or less brilliant that color may actually be. When it looks right, put it on your canvas.
Establish shadow patterns. It’s easier to control light colors by first placing in all the shadow shapes accurately. When they’re in the right place, this step is done. Laying in the shadows first guarantees clean color throughout.
Lay in the lights. Keep all the colors of the light family lighter than the shadow shapes. Lay them down flatly and simply. Cover the whole canvas while thinking about shapes. Step away and recheck your color choices. Don’t hurry to produce a finished painting.
See objects in terms of simple shapes. Focus on shapes, not things. Think of your paintings as mosaics of interlocking shapes, some larger, some smaller, but all related. Make all shapes interesting, and pay special attention to negative shapes. Start with flat silhouettes of color.
Describe the effect of light on forms. Use hard and soft edges to convey the character and solidity of objects. Start your painting by keeping edges soft. Hard edges attract the eye, so keep shapes and edges loose and fluid in the early stages.
All surfaces reflect color on any surfaces facing the light’s reflection. This is called reflected light and reflected color, and we see it when the blue sky reflects off water and snow, as well as when green grass reflects from the base of a white house.