Capturing Nature’s Beauty: Painting a Stunning Autumn Tree

Here is a recent artwork of mine that showcases an impressive autumn tree from New Zealand. This piece posed a challenge due to its complexity, brimming with overlapping elements and detailed aspects. In total, I dedicated approximately 10 hours across multiple sessions to complete it. In this post, I’ll explain my painting process and the insights I gained along the way.

Reference Image

Check out the reference image from which I painted:

Feel free to create your own version! You can download a high-resolution copy here. Additionally, if you’re looking for more reference images, make sure to visit the Reference Photo Library.

Materials Used

Here’s a glimpse of what I used in this artwork:

• Oil on Ampersand Gessobord, 18 by 24 inches.
• Primary colors: Ultramarine blue, cobalt blue, cadmium red, magenta, cadmium orange, cadmium yellow, cadmium yellow deep, cadmium yellow light, yellow ochre, viridian green, ivory black, raw umber, transparent red oxide, and titanium white.
• Brushes from Rosemary and Co and palette knives.

For details on more supplies, please refer to my supplies list.

Step 1: Outline Major Shapes

I usually initiate my paintings by staining the surface. However, this time, I took a different approach. I outlined the main shapes to establish a basic composition while holding off on painting the yellow leaves for later.

I chose a dark green hue for the ground to reflect the grass beneath the fallen leaves and create a strong contrast against the brighter colors.

A vital aspect of this painting lies in the contrasting rich blues of the far-off mountains and the bright yellows of the leaves. I applied the blue now, mindful that I would need to retain them throughout the painting process without excessive coverage.

Step 2: Set the Fallen Leaves

To depict the fallen leaves and ground, I utilized a pointillism or broken color technique. This technique involves applying various dots and dabs of color to create the illusion of leaves on the ground.

As I advanced through the painting, I continually fine-tuned the fallen leaves. It developed gradually until I achieved a result I was satisfied with.

Step 3: Define the Tree Trunk

I reinforced the dark tones to provide the tree trunk with more dimension and structure. It was crucial for the trunk and branches to be sufficiently dark to allow the yellow leaves to stand out vibrantly.

While painting the tree, I consistently contemplated its form and structure. Is it leaning towards me or away? Is it tilting to the left or right? What are the significant curves and contours?

Step 4: Paint the Yellow Leaves and Key Branches

The yellow leaves serve as the centerpiece of this artwork. They were the primary motivation behind my choice of subject matter, so accuracy was vital! I began cautiously but grew bolder as my confidence increased. The yellow shade leaned slightly warm, bordering on orange, rather than green. I primarily used cadmium yellow, adding a hint of transparent red oxide to warm it slightly while toning down the saturation.

The leaves, while appearing somewhat chaotic in the reference image, exhibited a robust sense of flow and structure.

See below for the overarching motion I aimed to demonstrate in this painting.

Step 5: Incorporate the Highlight Leaves (Mistake)

I added the standout leaves overlapping the tree trunk’s base. This created a striking contrast in the painting (light yellows against deep grays) that naturally attracts viewer attention. Regrettably, I found the leaves too small in my initial attempt and needed to redo them. I should have aimed for larger leaves, portraying the lush and impressive foliage that I remembered.

Step 6: Repaint the Highlight Leaves

Reworking the leaves was a bit challenging. I first had to scrape off the old paint, cover the tree trunk with a dark gray hue, and then start fresh. This time, I paid closer attention to capturing the leaf shapes with the right colors.

While I preferred the brightness of the colors from my initial try, it was still a satisfactory outcome!

Step 7: Final Touches

For the final details, I added numerous delicate twigs intermingled with the leaves. These twigs helped to unify the painting while offering a polished finish. I mixed ultramarine blue with raw umber for the twigs and applied the paint using a fine liner brush.

Tip: When executing fine line work, lightly twist your brush as you stroke. This technique ensures consistent paint application onto the surface.

Step 8: Sign the Completed Artwork

To finish, I signed the painting in the lower right corner using magenta, a color I currently prefer for signatures. This placement balances well against the higher visual activity on the opposite side of the painting.

Final Thoughts

I’m pleased with how the painting turned out. It brings back fond memories of my time in New Zealand.

What I liked:

• The overall color scheme is harmonious.
• The vibrant yellow leaves alongside the blue mountains resonate beautifully.
• I executed the fallen leaves and ground effectively.

Areas for improvement:

• The tree trunk appears slightly rigid and I could have refined the drawing.
• While I attempted intricate details in the bark, it didn’t quite align.
• The prominent leaves in front of the trunk could stand to be clearer.

Here’s a slideshow illustrating the various phases of development leading up to the final piece. (Note that the photo dimensions may vary slightly due to perspective cropping.)

Best Regards,

Dan Scott

Draw Paint Academy

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