Step-by-step painting guide

Last Light

A step-by-step painting guide by Richard Robinson

Learn to paint subtle greys versus vibrant colour. Follow me step by step as I show you the techniques I use to make subtle greys, glowing light and interesting texture with acrylics. This scene from Kinloch in the far south if New Zealand is the perfect subject to explore these powerful techniques.

This guide accompanies the full video lesson. The lesson includes the complete narrated video, the printable PDF chapter, and personalised critique support.

See the full lesson
"Last Light" 12x12" Acrylic on Canvas by Richard Robinson.
"Last Light" 12x12" Acrylic on Canvas by Richard Robinson.

Step 16Foreground Textures and Light Effects

What tool does Richard Robinson suggest using for creating crisp edges and interesting details in the foreground?

Richard Robinson suggests using a palette knife to create crisp edges and interesting details in the foreground. This technique also adds an impasto effect, which is particularly effective for enhancing the foreground textures. You can explore more about this technique on the sales page at https://mypaintingclub.com/lessons/82-Last-Light.

How does Richard Robinson suggest enhancing the glowing effect in the shadows?

Richard Robinson enhances the glowing effect in the shadows by adding a slightly pinkish grey. This color choice helps to accentuate the light coming from the spotlit area, creating a more dynamic and luminous effect. For further insights into this technique, visit the lesson's sales page at https://mypaintingclub.com/lessons/82-Last-Light.

What effect does Richard Robinson aim to achieve by defining the shafts of light across the beach?

By defining the shafts of light across the beach, Richard Robinson aims to create a more pronounced effect where the light skips over a shadowed ledge. This technique helps to add depth and interest to the painting. To learn more about this approach, check out the sales page at https://mypaintingclub.com/lessons/82-Last-Light.

Why does Richard Robinson add light to the land behind the dark trees?

Richard Robinson adds light to the land behind the dark trees to create more punch and crisper edges, enhancing the center of interest in the painting. This technique draws the viewer's eye and adds visual impact. Discover more about this method on the sales page at https://mypaintingclub.com/lessons/82-Last-Light.

What color should the shells in the foreground be painted, according to Richard Robinson?

Richard Robinson suggests painting the shells in the foreground with a grey color, as they are in the shadows. This choice ensures that the shells blend naturally with the shadowed areas without drawing too much attention. For more detailed guidance, visit the lesson's sales page at https://mypaintingclub.com/lessons/82-Last-Light.

Summary & key takeaways

As we conclude this journey into capturing the 'Last Light', I hope you've discovered the magic of subtle warm and cool variations within your grays. This lesson was all about embracing the nuanced tones that the last light of the day offers, and how these can bring depth and realism to your paintings. From the initial sketch to the final details, each step was designed to help you see and paint these subtle shifts in color and light.

Throughout the process, we explored techniques like using burnt sienna for initial sketches, mixing ultramarine blue with burnt sienna for the darkest darks, and the importance of keeping your acrylics wet to achieve a soft, blended look. Each technique serves to enhance your ability to convey the mood and atmosphere of a scene bathed in the gentle glow of the setting sun.

I hope that as you continue your painting journey, you'll remember to play with color temperatures, keep your edges soft where needed, and allow yourself the freedom to experiment and adjust as you go. Painting is as much about the process as it is about the final piece, and each brushstroke is a step towards capturing the beauty of the world around you.

Points to remember
  • Experiment with warm and cool variations in your grays to add depth.
  • Use burnt sienna for initial sketches to establish warm, neutral bases.
  • Mix ultramarine blue with burnt sienna for deep, dark tones.
  • Keep your acrylics wet with a fine mist to achieve soft edges.
  • Introduce subtle color shifts to unify your painting.
  • Start with yellow as a base for greens to create natural transitions.
  • Use soft edges in the background to keep the focus on the foreground.
  • Paint quickly with acrylics to blend colors before they dry.