The Basic Techniques of Oils GRASS & FIELD - Darrell · PDF fileThe Basic Techniques of Oils, ... The Basic Techniques of Oils GRASS & FIELD TECHNIQUES. ... Art Supplies For Painting

The Basic Techniques of Oils, Chapter 22 22-1 Grass & Field Techniques

Chapter 22

The Basic Techniques of Oils

GRASS & FIELD TECHNIQUES



TABLE OF CONTENTS

Chapter 22: Grass & Field Techniques

Art Supplies For Painting Grass…………………………………………….... 22-3Basic Foliage Mix………...…..………………………………………………………. 22-3Standard Tappy Grass: 2” Brush………………………….…………………. 22-4Standard Tappy Grass: 1” Brush…………………………………………….. 22-8Field Grass With Filbert Brush…..……………..…………………………….. 22-10Field Grass With The #3 Fan Brush…..…………………………………….. 22-12Forming The Lay Of The Land………………………...….………….……….. 22-14Snow Covered Grass... …………………………………………………………….. 22-17Beach Grass……………….………..…………………………………………………….. 22-18Meadow Grass……………….………..………………………………………………….. 22-20

Art Supplies: Painting GrassI’d like to give you a guideline for mixing paints andalso selecting the colors you should consider andwhy.

I paint grass by laying in a dark color and then high-lighting a brighter color over the base. The strokesand the brush I use determine what the final out-come will look like.

Summer: Base color: BU+SG, or PG + SG, or

SG+AC+BU+IB+PB (equal parts) Highlights: Green w/CY, or IY, or YO

Bright sun use SG+IB for Green Shade use SG+PB for Green Light Day use PTG+CY for Green

Use OR or AC to gray the green highlights lightlyWinter:Base color: PG+PB, or IB+PBHighlights: None or WhiteFallBase Color: BU, or BS, or PGHighlights: Oranges, Reds and Yellows. (Do mix insome highlighted green when painting.)

For my traditional oils I can use justabout any brush to achieve the effect Idesire for grass. My chief work horseis the 1” brush. But I also use the 21/2” or 2” brush or the fan brushquite a bit. It’s all a matter of the kindof grass I want to paint. I suggest thatas you read this chapter, experimentwith each of the brushes and seewhich effects you like best.

Basic Foliage Mix

The Basic Foliage Mix is made with equal parts of AC, SG, BU, IB, PB. I like to place the five colors in a row to ensurethey’re fairly equal in size. Load all five colors onto the knife, spread, pick up again and repeat this process 3 or 4 times.This will sufficiently mix the colors together. If the color is flat ugly, you’ve done it right. The same mixture without SG iswhat I use for the mountain base color. I also use a mixture of BU and SG if I want a real earthy green grass. This worksquite nicely. For grasses around mountains I also use a Mixture of SG & PG. This is close to the Basic Foliage Mix, exceptits not quite as ‘dark’. Experiment with each of these base colors.



TABLE OF CONTENTS

Chapter 22: Grass & Field Techniques

Art Supplies For Painting Grass…………………………………………….... 22-3Basic Foliage Mix………...…..………………………………………………………. 22-3Standard Tappy Grass: 2” Brush………………………….…………………. 22-4Standard Tappy Grass: 1” Brush…………………………………………….. 22-8Field Grass With Filbert Brush…..……………..…………………………….. 22-10Field Grass With The #3 Fan Brush…..…………………………………….. 22-12Forming The Lay Of The Land………………………...….………….……….. 22-14Snow Covered Grass... …………………………………………………………….. 22-17Beach Grass……………….………..…………………………………………………….. 22-18Meadow Grass……………….………..………………………………………………….. 22-20

Art Supplies: Painting GrassI’d like to give you a guideline for mixing paints andalso selecting the colors you should consider andwhy.

I paint grass by laying in a dark color and then high-lighting a brighter color over the base. The strokesand the brush I use determine what the final out-come will look like.

Summer: Base color: BU+SG, or PG + SG, or

SG+AC+BU+IB+PB (equal parts) Highlights: Green w/CY, or IY, or YO

Bright sun use SG+IB for Green Shade use SG+PB for Green Light Day use PTG+CY for Green

Use OR or AC to gray the green highlights lightlyWinter:Base color: PG+PB, or IB+PBHighlights: None or WhiteFallBase Color: BU, or BS, or PGHighlights: Oranges, Reds and Yellows. (Do mix insome highlighted green when painting.)

For my traditional oils I can use justabout any brush to achieve the effect Idesire for grass. My chief work horseis the 1” brush. But I also use the 21/2” or 2” brush or the fan brushquite a bit. It’s all a matter of the kindof grass I want to paint. I suggest thatas you read this chapter, experimentwith each of the brushes and seewhich effects you like best.

Basic Foliage Mix

The Basic Foliage Mix is made with equal parts of AC, SG, BU, IB, PB. I like to place the five colors in a row to ensurethey’re fairly equal in size. Load all five colors onto the knife, spread, pick up again and repeat this process 3 or 4 times.This will sufficiently mix the colors together. If the color is flat ugly, you’ve done it right. The same mixture without SG iswhat I use for the mountain base color. I also use a mixture of BU and SG if I want a real earthy green grass. This worksquite nicely. For grasses around mountains I also use a Mixture of SG & PG. This is close to the Basic Foliage Mix, exceptits not quite as ‘dark’. Experiment with each of these base colors.


Standard Tappy Grass: 2” Brush

Tappy grass is the traditional wild grass I like topaint, especially when the area being painted isdistant and we’ll not be showing a lot of details.

Begin by mixing up a good batch of foliage color.The uglier it is, the better. In class, I often callthis the ‘Ugly Color.”

Tap the brush vertically into the pile of paint sothat the very tips of the brush are fully loaded.By tapping straight up and down, you’re disburs-ing the paint evenly across the brush bristles.

Go to the canvas and tap in a row the area whichwill be the ‘grass.’

I generally go back and forth as you see in the leftphoto. I want to make sure I’ve solidly coveredthe area with the base color paint.

Do not use any medium at this point. We’ve al-ready laid down medium onto the canvas whenwe first painted the canvas. So in order for thislayer of paint to stick, it must be thick. So paintwithout any medium.

Cover the entire area in which you’d like to paintthe grassy fields. And if you’re painting bushesand trees as well this is the right moment to basecolor them with the foliage mix.

To tap this color onto the canvas, I hold the brushat a 45 degree angle to the canvas and strike downwith medium pressure onto the canvas, lift thebrush off of the canvas and re-strike.

At this point in time I also practice going in thedirection of the lay of the land. Is this steepcliffs, a slight indentation, level or hilly.

Even thought I’m not committed at this point, I’lltap the grass in to set the stage for highlighting. Ican always change my mind, or experiment withdifferent lays of lands until I’m satisfied.

The key to remember its not until the highlightcolor dries are you fully committed to a lay of theland.

Notice how I’m holding the brush on the right photo.It’s at a 45 degree angle and I’ve just lifted it up offof the grassy field and am re-striping.

One very important thing to do as you finish puttingin the base color. Look at the photo on the right andnotice the border between the grassy field and thebushes. See how well defined that border is? That’scalled a hard line since its clearly seen.

What I like to do is put my brush onto this border‘hard line’ and gently lift up the border paint byabout 1/8”. This gives the impression of tall grassunderneath the bush, but more importantly, as shownin the photo to the immediate right, a natural setting.

The bushes naturally are seated into the grassy fields.

Always look for hardlines when you base color yourfields and eliminate them quickly using this method.This will render your paintings very believable.

Dip your brush into medium and add green paint anda combination of yellows.

We need the medium to thin the paint slightly. Thebase color is very thick and was applied to the canvaswith no medium. To have the highlight easily coverthe base color, add medium since thin paints stick tothick paints.

Load lots of paints into the brush. Holding the brushat a 45 degree angle, slide the brush forward andform a bead of paint onto the palette. This will forman identical bead of paint on the top edge of thebrush as well.

Make sure you’ve got a thick bead of paint on thebrush for the next step. One side note: By keepingthe brush fully loaded with a thick bead of paint, youminimize how much paint you use in reloading. Acouple of slides and the brush is easily loaded againfor painting action.

Hold the brush at a 45 degree angle to the canvas andlightly tap down. I hold my brush less than an inchfrom the surface of the canvas. So it’s a light tap andnot a hard smash. Tap gently the outside row theentire length or width of the field to set the lay of theland. Continue tapping row after row. For ;hills I letthe interior get a little darker than the outside edge.But do keep an eye on the brush and reload con-stantly to make sure you always have enough painton the brush and that the paint is transferring effort-lessly from brush to canvas.



Tappy grass is the traditional wild grass I like topaint, especially when the area being painted isdistant and we’ll not be showing a lot of details.

Begin by mixing up a good batch of foliage color.The uglier it is, the better. In class, I often callthis the ‘Ugly Color.”

Tap the brush vertically into the pile of paint sothat the very tips of the brush are fully loaded.By tapping straight up and down, you’re disburs-ing the paint evenly across the brush bristles.

Go to the canvas and tap in a row the area whichwill be the ‘grass.’

I generally go back and forth as you see in the leftphoto. I want to make sure I’ve solidly coveredthe area with the base color paint.

Do not use any medium at this point. We’ve al-ready laid down medium onto the canvas whenwe first painted the canvas. So in order for thislayer of paint to stick, it must be thick. So paintwithout any medium.

Cover the entire area in which you’d like to paintthe grassy fields. And if you’re painting bushesand trees as well this is the right moment to basecolor them with the foliage mix.

To tap this color onto the canvas, I hold the brushat a 45 degree angle to the canvas and strike downwith medium pressure onto the canvas, lift thebrush off of the canvas and re-strike.

At this point in time I also practice going in thedirection of the lay of the land. Is this steepcliffs, a slight indentation, level or hilly.

Even thought I’m not committed at this point, I’lltap the grass in to set the stage for highlighting. Ican always change my mind, or experiment withdifferent lays of lands until I’m satisfied.

The key to remember its not until the highlightcolor dries are you fully committed to a lay of theland.

Notice how I’m holding the brush on the right photo.It’s at a 45 degree angle and I’ve just lifted it up offof the grassy field and am re-striping.

One very important thing to do as you finish puttingin the base color. Look at the photo on the right andnotice the border between the grassy field and thebushes. See how well defined that border is? That’scalled a hard line since its clearly seen.

What I like to do is put my brush onto this border‘hard line’ and gently lift up the border paint byabout 1/8”. This gives the impression of tall grassunderneath the bush, but more importantly, as shownin the photo to the immediate right, a natural setting.

The bushes naturally are seated into the grassy fields.

Always look for hardlines when you base color yourfields and eliminate them quickly using this method.This will render your paintings very believable.

Dip your brush into medium and add green paint anda combination of yellows.

We need the medium to thin the paint slightly. Thebase color is very thick and was applied to the canvaswith no medium. To have the highlight easily coverthe base color, add medium since thin paints stick tothick paints.

Load lots of paints into the brush. Holding the brushat a 45 degree angle, slide the brush forward andform a bead of paint onto the palette. This will forman identical bead of paint on the top edge of thebrush as well.

Make sure you’ve got a thick bead of paint on thebrush for the next step. One side note: By keepingthe brush fully loaded with a thick bead of paint, youminimize how much paint you use in reloading. Acouple of slides and the brush is easily loaded againfor painting action.

Hold the brush at a 45 degree angle to the canvas andlightly tap down. I hold my brush less than an inchfrom the surface of the canvas. So it’s a light tap andnot a hard smash. Tap gently the outside row theentire length or width of the field to set the lay of theland. Continue tapping row after row. For ;hills I letthe interior get a little darker than the outside edge.But do keep an eye on the brush and reload con-stantly to make sure you always have enough painton the brush and that the paint is transferring effort-lessly from brush to canvas.


The photo at the left shows how effortlessly the taps are andhow the paint is easily transferring from the brush to thecanvas.

The most crucial element in tappy grass is loading the brushand how the brush is held while tapping in the grass.

So I’m going to really go into detail on this process.

To load the brush, first load medium into your brush. Youcan see from these photos I’ve used a medium white. Thehair bristles are white from this paint. I load the mediuminto the brush by dipping the edge of the brush into the me-dium by 1/8” and then working the medium through theentire brush to ensure all bristles have medium on them.

I then move to the highlight mixture and with a slidingstroke load up the brush. Since you’re doing a slidingstroke, what happens on the palette is that the wet paint ispushed in front of the sliding bristles. The paint forms abigger bead of paint the further its pushed on the palette.

When you lift up the brush, the top edge of the brush cutsthrough the bead of paint a similar bead is placed on top ofthe bristle brush edge. Thus you can always tell how muchpaint you have on your brush edge, by looking at the beadof paint you’ve just left behind.

Let’s show a close up photo of the paint bead. In the leftphoto you see the bead of paint is pushing from the edge ofthe bristle brush forward a small depth. This is the bead.

When you slide the brush forward, the brush continues tomove the paint forward essentially forming a larger andlarger bead of paint.

If you’ll note the photo to the lower left, you’ll see howmuch larger the bead has grown from the left most photowith just one push of about 1/4 to 1/2”.

There’s a lot of paint on the edge of the brush right now andits ready for highlighting.

Really notice how much paint is on the brush bristle and tryto make sure that whenever you load the brush that youhave as much paint as you see in this left photo.

It’s so important to have this full bead on the edge.Continuously slide the brush forward until you’rehappy with the amount of paint on your bristle brushedge.

Now if I turn the brush over so that the loaded edgeis down facing the palette you’ll see that there is ab-solutely little to no paint on the bottom bristles asshown in the photo to the right.

Whenever you paint tappy grass always check tomake sure that the loaded edge is up in the top posi-tion or the results will not look right.

You can also see from the photo why you need tohold the brush at a 45 degree angle. The angle in-sures that only the beaded portion of the brush edgeis what’s striking the canvas. And since the paint isquite wet, just a light tap is sufficient. A stern tapwould destroy the edge, bury the highlight color intothe base color and splatter over the area. So use alight tapping stroke.

Tap throughout the field area until the entire portionis completely highlighted.

You’ll note in the photo to the right that I’ve saveddark. The darks keep the highlights alive. I start outby forming the top edge of one of these hills and tapback and forth gently in the direction of the hill.Since paint is transferring to the canvas with eachtap, the highlight color gets a little darker as I con-tinue. That’s working for you. I separate hills byskipping over a portion so that the hills are separatedby dark.

This process takes practice before it becomes secondnature, but with practice, practice, practice, you willsoon be tapping in grass without a second thought asto the process. You’ll be concentrating more onwhere light is and the lay of the land.

Don’t forget to eliminate the hardlines at the back ofthe grass fields by gently lifting up the hardline beadof highlight paint by about 1/8”. This sets the fieldinto the painting and the grass just looks like it goeson forever.


The photo at the left shows how effortlessly the taps are andhow the paint is easily transferring from the brush to thecanvas.

The most crucial element in tappy grass is loading the brushand how the brush is held while tapping in the grass.

So I’m going to really go into detail on this process.

To load the brush, first load medium into your brush. Youcan see from these photos I’ve used a medium white. Thehair bristles are white from this paint. I load the mediuminto the brush by dipping the edge of the brush into the me-dium by 1/8” and then working the medium through theentire brush to ensure all bristles have medium on them.

I then move to the highlight mixture and with a slidingstroke load up the brush. Since you’re doing a slidingstroke, what happens on the palette is that the wet paint ispushed in front of the sliding bristles. The paint forms abigger bead of paint the further its pushed on the palette.

When you lift up the brush, the top edge of the brush cutsthrough the bead of paint a similar bead is placed on top ofthe bristle brush edge. Thus you can always tell how muchpaint you have on your brush edge, by looking at the beadof paint you’ve just left behind.

Let’s show a close up photo of the paint bead. In the leftphoto you see the bead of paint is pushing from the edge ofthe bristle brush forward a small depth. This is the bead.

When you slide the brush forward, the brush continues tomove the paint forward essentially forming a larger andlarger bead of paint.

If you’ll note the photo to the lower left, you’ll see howmuch larger the bead has grown from the left most photowith just one push of about 1/4 to 1/2”.

There’s a lot of paint on the edge of the brush right now andits ready for highlighting.

Really notice how much paint is on the brush bristle and tryto make sure that whenever you load the brush that youhave as much paint as you see in this left photo.

It’s so important to have this full bead on the edge.Continuously slide the brush forward until you’rehappy with the amount of paint on your bristle brushedge.

Now if I turn the brush over so that the loaded edgeis down facing the palette you’ll see that there is ab-solutely little to no paint on the bottom bristles asshown in the photo to the right.

Whenever you paint tappy grass always check tomake sure that the loaded edge is up in the top posi-tion or the results will not look right.

You can also see from the photo why you need tohold the brush at a 45 degree angle. The angle in-sures that only the beaded portion of the brush edgeis what’s striking the canvas. And since the paint isquite wet, just a light tap is sufficient. A stern tapwould destroy the edge, bury the highlight color intothe base color and splatter over the area. So use alight tapping stroke.

Tap throughout the field area until the entire portionis completely highlighted.

You’ll note in the photo to the right that I’ve saveddark. The darks keep the highlights alive. I start outby forming the top edge of one of these hills and tapback and forth gently in the direction of the hill.Since paint is transferring to the canvas with eachtap, the highlight color gets a little darker as I con-tinue. That’s working for you. I separate hills byskipping over a portion so that the hills are separatedby dark.

This process takes practice before it becomes secondnature, but with practice, practice, practice, you willsoon be tapping in grass without a second thought asto the process. You’ll be concentrating more onwhere light is and the lay of the land.

Don’t forget to eliminate the hardlines at the back ofthe grass fields by gently lifting up the hardline beadof highlight paint by about 1/8”. This sets the fieldinto the painting and the grass just looks like it goeson forever.



I use the 1” brush when I have small areas to paint grass, or Ihave a lot of different contours in the lay of the land I mustnavigate around. The smaller brush really helps in tight ma-neuvering. If its just a big open area, than the larger brush isthe way to go.

There’s really no difference whatsoever in loading up thebrush. Just make sure you keep your brush at a 45 degreeangle and as you slide the brush forward, form the large beadof paint on the palette. An identical bead will form on theedge of your brush as well. Hold the edge with paint up.

Again, LIGHTLY tap down on the brush as you tap in the grass. Do not lift the brush more than one inch abovethe palette as you strike, otherwise you will have the tendency to put some real force on the stroke and end up justslapping the grass down. Keep the brush close to the canvas and simply tap.

This is a painting I did a few years ago. Idon’t even remember the name. I chose touse the 1” brush for the grass highlightsince there’s relatively little space for tap-ping the grass on either river bank.

The bank on the left I tapped from left toright fairly level, taking 6 or 7 inches todescend from the tree line to the river’sedge.

On the right side, I stroked from right tostraight to the river’s edge.

This gave both river banks a great lay ofthe land and the painting is very believ-able. The whole emphasis of the paintingremains on the mountains and not a strangelay of land with the river banks.

There’s another type of field grass that can be easily accomplished with the one inch brush. I use it for foreground grass primar-ily. Load the brush as you would for tappy grass. Tap the brush onto the back part of the grass field to remove some of the ex-cess paint from the edge of the brush. Now we want to paint with a happy smile stroke.

To make this stroke, carefully look at the photo below.

Place the brush vertically (90 degree angle) to the canvas and press the brush so that the bristles bend upwards. But don’t allowthe bottom edge to move or slip. Bend the bristles so all the way up the brush length by about 1/3 is touching the canvas.

Release the pressure from the brush, move to an adjacentlocation and repeat the process. I’ll typically go 3-4 strokesto the right, 3-4 to the left, for 2 or 3 rows and then bounceover to another area of the grassy area.

The key is not look uniform. Uniform means cultivatedlawns that are cared for weekly. That’s not what we’re try-ing to represent. We want a totally, unkempt, naturally wildsetting. By bouncing around to different areas on the can-vas this will destroy any sense of uniformity.

Change colors now and then. I find that adding yellowochre for grass strokes here and there, really blends innicely giving a most natural outdoors look to your land-scape painting. Like anything else, it can be over done. Sobe careful of how much YO you use to liven up the grass.

On the right photo I’ve bent in a lot of grass withseveral colors. This field grass was done with the1” brush and I had to maneuver around the boul-ders, trees and creek and still stay true to the layof land.

While painting the grass I switched from differentyellows to browns to reds to create color effect Idesired.

The best think you can do is constantly try newthings with these techniques.



I use the 1” brush when I have small areas to paint grass, or Ihave a lot of different contours in the lay of the land I mustnavigate around. The smaller brush really helps in tight ma-neuvering. If its just a big open area, than the larger brush isthe way to go.

There’s really no difference whatsoever in loading up thebrush. Just make sure you keep your brush at a 45 degreeangle and as you slide the brush forward, form the large beadof paint on the palette. An identical bead will form on theedge of your brush as well. Hold the edge with paint up.

Again, LIGHTLY tap down on the brush as you tap in the grass. Do not lift the brush more than one inch abovethe palette as you strike, otherwise you will have the tendency to put some real force on the stroke and end up justslapping the grass down. Keep the brush close to the canvas and simply tap.

This is a painting I did a few years ago. Idon’t even remember the name. I chose touse the 1” brush for the grass highlightsince there’s relatively little space for tap-ping the grass on either river bank.

The bank on the left I tapped from left toright fairly level, taking 6 or 7 inches todescend from the tree line to the river’sedge.

On the right side, I stroked from right tostraight to the river’s edge.

This gave both river banks a great lay ofthe land and the painting is very believ-able. The whole emphasis of the paintingremains on the mountains and not a strangelay of land with the river banks.

There’s another type of field grass that can be easily accomplished with the one inch brush. I use it for foreground grass primar-ily. Load the brush as you would for tappy grass. Tap the brush onto the back part of the grass field to remove some of the ex-cess paint from the edge of the brush. Now we want to paint with a happy smile stroke.

To make this stroke, carefully look at the photo below.

Place the brush vertically (90 degree angle) to the canvas and press the brush so that the bristles bend upwards. But don’t allowthe bottom edge to move or slip. Bend the bristles so all the way up the brush length by about 1/3 is touching the canvas.

Release the pressure from the brush, move to an adjacentlocation and repeat the process. I’ll typically go 3-4 strokesto the right, 3-4 to the left, for 2 or 3 rows and then bounceover to another area of the grassy area.

The key is not look uniform. Uniform means cultivatedlawns that are cared for weekly. That’s not what we’re try-ing to represent. We want a totally, unkempt, naturally wildsetting. By bouncing around to different areas on the can-vas this will destroy any sense of uniformity.

Change colors now and then. I find that adding yellowochre for grass strokes here and there, really blends innicely giving a most natural outdoors look to your land-scape painting. Like anything else, it can be over done. Sobe careful of how much YO you use to liven up the grass.

On the right photo I’ve bent in a lot of grass withseveral colors. This field grass was done with the1” brush and I had to maneuver around the boul-ders, trees and creek and still stay true to the layof land.

While painting the grass I switched from differentyellows to browns to reds to create color effect Idesired.

The best think you can do is constantly try newthings with these techniques.


Field Grass With The Filbert Brush

Below you see the results of tappy grass with a 1” filbert. I really like this effect for painting waist high grass, de-sert scenes or African scenes.

We’re seeing how to use our brushes differently to accomplish different types of grasses. And you may discoveryet another method through experimentation.

The filbert brush has a natural tendency when itstapped for both the left side and the right side todroop down and touch the canvas as well. This givesan inverted u shape to the row of grass. By layeringstroke over stroke this creates a field of tall grass asshown below.

All that’s left is a matter of highlighting the grass.

Another method for creating tall grass is to fully loada 1” brush with lots of the base paint and slap thebrush onto the grassy area. Position the brush so thatthe handle is 180 degrees below the bristle edges.Then slap the brush onto the canvas, lift off and slapagain. I lift the brush about 2” above the canvas andthen begin my descent for the slap.

To highlight the area I load the brush as I normallywould for tappy grass. Then I hold the brush withthe bristles pointed directly up and slap the coloronto the top half of the grass. Work from the back ofthe field forward.

I’ll use a large filbert brush to make field grass if I’m lookingfor tall, tall grass. The process is quite simple. Load thebrush up in the fashion as the 1” brush and then tap in a rowof grass. Use as light and as shallow of a stroke as possible.


Field Grass With The Filbert Brush

Below you see the results of tappy grass with a 1” filbert. I really like this effect for painting waist high grass, de-sert scenes or African scenes.

We’re seeing how to use our brushes differently to accomplish different types of grasses. And you may discoveryet another method through experimentation.

The filbert brush has a natural tendency when itstapped for both the left side and the right side todroop down and touch the canvas as well. This givesan inverted u shape to the row of grass. By layeringstroke over stroke this creates a field of tall grass asshown below.

All that’s left is a matter of highlighting the grass.

Another method for creating tall grass is to fully loada 1” brush with lots of the base paint and slap thebrush onto the grassy area. Position the brush so thatthe handle is 180 degrees below the bristle edges.Then slap the brush onto the canvas, lift off and slapagain. I lift the brush about 2” above the canvas andthen begin my descent for the slap.

To highlight the area I load the brush as I normallywould for tappy grass. Then I hold the brush withthe bristles pointed directly up and slap the coloronto the top half of the grass. Work from the back ofthe field forward.

I’ll use a large filbert brush to make field grass if I’m lookingfor tall, tall grass. The process is quite simple. Load thebrush up in the fashion as the 1” brush and then tap in a rowof grass. Use as light and as shallow of a stroke as possible.


Field Grass With The #3 Fan BrushWhen mixing the highlight colors you have certainchoices to make on how to make the green, SGmixed with yellows, PTG mixed with yellows or anyblue mixed with yellows. You can gray down thegreen with touches of reds or IB or lighten the greenswith YW.

I have a whole series of DVDs out on how to mix oilpaints that will walk you through the mixing of col-ors for experimentation, matching or composing.

You need to have more than one green in your fieldgrass. I like adding YO either into the green mixtureI’m currently using as a highlight or a heavier YOcolor. YO is an earth tone and does wonders whenused in highlighting bushes, grass or trees.

Continue to push/bend the rest of the grass field untilthoroughly satisfied with the lay of land, color anddarks.

Inspect the area for any hardlines, such as where youfirst started.

When you find them then lift up those edges by plac-ing the tips of the fan brush onto the bead of paintand lifting up about 1/8”. This sets the field into thepainting, destroys the hardline and you end up with amore natural, believable presentation.

It is surprising just how versatile the #3 and #6 bris-tle fan brushes can be.

They’re also excellent in highlighting field grass. Itdoesn’t matter the size of brush you use, the largerthe number, the larger the grass.

Begin by basing in the foliage mix onto the canvaswhere your field grass reside. My standard work-house brush for basing is the 1” brush. I can covereither large small areas with this brush and by turn-ing it sideways, can also add bush area.

Once Your ready to highlight, load the brush withmedium and go to a clean spot on the palette. I amusing a medium white as I like keep the highlightcolors on the lighter side.

Mix in the medium by stroking “X’s onto the pal-ette. Do this several times, flipping the brush overas well in order to thoroughly mix the medium intothe brush. I don’t want the brush saturated, justthoroughly wet.

Now go to the pile of light green color you’ll beusing and load the brush by pulling it toward youthrough the pile of paint.

Do this 3-r times each side ensuring that the brush isfully loaded with paint.

Place the brush at a 90 degree angle to the canvaswhere you want to add field grass.

Since the fan brush has a rounded edge, this meansonly the center tip will be touching the canvas. Ap-ply pressure toward the canvas and slightly up.Make sure the edge that is touching the canvas doesnot move or slide. That portion of the brush is toremain right where it is. As you increase the pres-sure, the bristle hairs will bend upwards creating anice green smile on the canvas. Release the pres-sure and move to another spot to add a secondsmile. Add several of these strokes, even overlap-ping the strokes and you should have something likewhat you see in the left photo.

Allow some of the dark to show through the strokes.This keeps a sense of depth to the painting.

When you first start highlighting, the paint will bebright, but as you continue to form stroke, afterstroke the color begins to fade. Reload when dark.

You can cover large areas or small areas offield grass with this techniques. In mypainting, Rugged Creek, I wanted to showthe variation of color seen at extremelyhigh elevations.

The reference photo I’d taken in Coloradoshowed no rocks, no trees, nor even thestream.

I just loved the huge mountain in the back-ground, so I exercised artistic license byinserting rocks, the grove of trees and thelittle bubbling creek to break up the mas-sive field grass.

I painted the scene just like the referencephoto and then started experimenting untilI arrived at this final composition.

I receive a lot of compliments on the de-sign of this painting.


Field Grass With The #3 Fan BrushWhen mixing the highlight colors you have certainchoices to make on how to make the green, SGmixed with yellows, PTG mixed with yellows or anyblue mixed with yellows. You can gray down thegreen with touches of reds or IB or lighten the greenswith YW.

I have a whole series of DVDs out on how to mix oilpaints that will walk you through the mixing of col-ors for experimentation, matching or composing.

You need to have more than one green in your fieldgrass. I like adding YO either into the green mixtureI’m currently using as a highlight or a heavier YOcolor. YO is an earth tone and does wonders whenused in highlighting bushes, grass or trees.

Continue to push/bend the rest of the grass field untilthoroughly satisfied with the lay of land, color anddarks.

Inspect the area for any hardlines, such as where youfirst started.

When you find them then lift up those edges by plac-ing the tips of the fan brush onto the bead of paintand lifting up about 1/8”. This sets the field into thepainting, destroys the hardline and you end up with amore natural, believable presentation.

It is surprising just how versatile the #3 and #6 bris-tle fan brushes can be.

They’re also excellent in highlighting field grass. Itdoesn’t matter the size of brush you use, the largerthe number, the larger the grass.

Begin by basing in the foliage mix onto the canvaswhere your field grass reside. My standard work-house brush for basing is the 1” brush. I can covereither large small areas with this brush and by turn-ing it sideways, can also add bush area.

Once Your ready to highlight, load the brush withmedium and go to a clean spot on the palette. I amusing a medium white as I like keep the highlightcolors on the lighter side.

Mix in the medium by stroking “X’s onto the pal-ette. Do this several times, flipping the brush overas well in order to thoroughly mix the medium intothe brush. I don’t want the brush saturated, justthoroughly wet.

Now go to the pile of light green color you’ll beusing and load the brush by pulling it toward youthrough the pile of paint.

Do this 3-r times each side ensuring that the brush isfully loaded with paint.

Place the brush at a 90 degree angle to the canvaswhere you want to add field grass.

Since the fan brush has a rounded edge, this meansonly the center tip will be touching the canvas. Ap-ply pressure toward the canvas and slightly up.Make sure the edge that is touching the canvas doesnot move or slide. That portion of the brush is toremain right where it is. As you increase the pres-sure, the bristle hairs will bend upwards creating anice green smile on the canvas. Release the pres-sure and move to another spot to add a secondsmile. Add several of these strokes, even overlap-ping the strokes and you should have something likewhat you see in the left photo.

Allow some of the dark to show through the strokes.This keeps a sense of depth to the painting.

When you first start highlighting, the paint will bebright, but as you continue to form stroke, afterstroke the color begins to fade. Reload when dark.

You can cover large areas or small areas offield grass with this techniques. In mypainting, Rugged Creek, I wanted to showthe variation of color seen at extremelyhigh elevations.

The reference photo I’d taken in Coloradoshowed no rocks, no trees, nor even thestream.

I just loved the huge mountain in the back-ground, so I exercised artistic license byinserting rocks, the grove of trees and thelittle bubbling creek to break up the mas-sive field grass.

I painted the scene just like the referencephoto and then started experimenting untilI arrived at this final composition.

I receive a lot of compliments on the de-sign of this painting.


Lay of the land defines the surface of the land-scape. i.e. uphills, downhills, rocks, trees, scale,etc….

When we paint landscapes, its past to be con-stantly aware of how the surrounding environ-ment is laid out. It’s like decorating our homes.The sofa goes here, the TV there, bookcasesover yonder. The end tables and so forth.

With lay of the lay of the land we’re organizingall of our components of the landscape onto thecanvas in a manner that will be pleasing to us.Grass is generally what connects our differentelements all together into a pleasing rendition.Just be aware of this when you’re tapping ingrass by whatever technique you’ve chosen.

I want to show you how you can really tie in thelay of the land with grass.

In this example, I have some rocks that are par-tially visible on a slope. Therefore how I layerin the grass will become extremely important.

First cover the area with the base foliage mix.As I’ve mentioned before this is a good way foryou to practice and experiment with the land-forms, slopes, angles, etc. You’re not commit-ted until the highlights.

Work the foliage mix over the tops of your rocksand down and over other areas. Make sureslopes and angles are prominently visible.

In the left photo you can see two rock forma-tions jutting through the field grass. Further-more there is a sharp slope between them.

I’ve painted the base so that the major featuresof this scene are well seen, now all I have to dois bring everything to full, living color.

Forming The Lay Of The LandI’m going to be painting tappy grass with the 1”brush.

1. Load the lower 14” of the brush thoroughlywith medium, I’m using medium white tolighten my highlight colors. Work the me-dium thoroughly into your brush.

2. Holding the brush at a 45 degree angle, slidethe edge of the brush into the paint. Releasepressure and reslide the brush forward. Re-peat this several times until you see a largebead of paint forming at the edge of the brush.A similar edge is on the brush and will remainas you lift the brush up.

3. Keep the bead loaded brush edge up and go tothe canvas

4. Hold the brush at a 45 degree angle to the can-vas

5. We want to tap the brush onto the canvas andnot smash it.

6. Hold the brush about an inch above the can-vas.

7. Lightly tap the canvas with the brush and liftthe brush off the canvas returning the brush toits 1” height above the canvas.

8. As you’re tapping the canvas, be moving yourbrush along the area you’ve already coveredwith the base foliage mix.

9. As you tap, the color you’re painting will getdarker and darker. This is natural since witheach ‘tap’ you’re transferring paint from thebrush to the canvas, you’re also picking upsome of the base foliage color onto yourbrush.

10. Before you reload, its necessary to wipe thebase foliage color off of the brush. Most stu-dents have a tendency to also wipe out all ofthe paint. That’s not necessary. Just wipe thesurface of the brush lightly with a paper toweland that’ll remove most of the base foliagecolor. If you do not, than you run the risk ofdulling your entire highlight color when youreload. So lightly wipe the surface of yourbrush with a paper towel each time you go toreload.

11. Continue tapping in the highlight color andfollowing the contours of the lay of the land.As you see in the right photo, I’m descendingdown the sharp slope between the two rockformations.

12. Inspect your work and make any adjustmentsrequired.


Lay of the land defines the surface of the land-scape. i.e. uphills, downhills, rocks, trees, scale,etc….

When we paint landscapes, its past to be con-stantly aware of how the surrounding environ-ment is laid out. It’s like decorating our homes.The sofa goes here, the TV there, bookcasesover yonder. The end tables and so forth.

With lay of the lay of the land we’re organizingall of our components of the landscape onto thecanvas in a manner that will be pleasing to us.Grass is generally what connects our differentelements all together into a pleasing rendition.Just be aware of this when you’re tapping ingrass by whatever technique you’ve chosen.

I want to show you how you can really tie in thelay of the land with grass.

In this example, I have some rocks that are par-tially visible on a slope. Therefore how I layerin the grass will become extremely important.

First cover the area with the base foliage mix.As I’ve mentioned before this is a good way foryou to practice and experiment with the land-forms, slopes, angles, etc. You’re not commit-ted until the highlights.

Work the foliage mix over the tops of your rocksand down and over other areas. Make sureslopes and angles are prominently visible.

In the left photo you can see two rock forma-tions jutting through the field grass. Further-more there is a sharp slope between them.

I’ve painted the base so that the major featuresof this scene are well seen, now all I have to dois bring everything to full, living color.

Forming The Lay Of The LandI’m going to be painting tappy grass with the 1”brush.

1. Load the lower 14” of the brush thoroughlywith medium, I’m using medium white tolighten my highlight colors. Work the me-dium thoroughly into your brush.

2. Holding the brush at a 45 degree angle, slidethe edge of the brush into the paint. Releasepressure and reslide the brush forward. Re-peat this several times until you see a largebead of paint forming at the edge of the brush.A similar edge is on the brush and will remainas you lift the brush up.

3. Keep the bead loaded brush edge up and go tothe canvas

4. Hold the brush at a 45 degree angle to the can-vas

5. We want to tap the brush onto the canvas andnot smash it.

6. Hold the brush about an inch above the can-vas.

7. Lightly tap the canvas with the brush and liftthe brush off the canvas returning the brush toits 1” height above the canvas.

8. As you’re tapping the canvas, be moving yourbrush along the area you’ve already coveredwith the base foliage mix.

9. As you tap, the color you’re painting will getdarker and darker. This is natural since witheach ‘tap’ you’re transferring paint from thebrush to the canvas, you’re also picking upsome of the base foliage color onto yourbrush.

10. Before you reload, its necessary to wipe thebase foliage color off of the brush. Most stu-dents have a tendency to also wipe out all ofthe paint. That’s not necessary. Just wipe thesurface of the brush lightly with a paper toweland that’ll remove most of the base foliagecolor. If you do not, than you run the risk ofdulling your entire highlight color when youreload. So lightly wipe the surface of yourbrush with a paper towel each time you go toreload.

11. Continue tapping in the highlight color andfollowing the contours of the lay of the land.As you see in the right photo, I’m descendingdown the sharp slope between the two rockformations.

12. Inspect your work and make any adjustmentsrequired.


Begin by mixing together one of the following base winter foli-age mixes

1. PB & IB2. PG & PB

Either works quite nicely. If you’re making a small amount ofgrass, than just brush mix together the colors. If I need a largequantity of paint, I’ll use the palette knife. I see quite a numberof students who immediately mix way too much paint with aknife when they require only a small amount of paint. If you’renot sure, than use the knife.

Load a small amount of the winter foliage mix onto the edge ofthe brush and return to the canvas. Place the brush at the spotwhere you’d like to have the grass and stroke up about 1/8” to1/4” high. Continue up stroking the grass in until satisfied.

Inspect your work.

Your strokes should look like the left photo. I have one glaringerror in this sample. Can you spot it?

There’s a natural tendency to pull the grass straight from thepoint you place the brush. What you need to do instead is pullthe grass up toward the top of the canvas. Look at the left sideand the right side of the hill I’ve painted grass upon. Notice howas you go over the hill and descend the grass flows out in thesame direction.

That’s the importance of inspecting your work. Always check tomake sure everything is believable.

After correcting the grass, clean your brush by wiping it off witha paper towel. Return to the canvas and place the tips of theclean fan brush right at the base of each grass stroke and pull outto form the shadows.

Again, STOP, Think, Observe, Plan where the shadows shouldlie, and then execute.

You know the next step.

Inspect your work and make any adjustments required.

Move onto the next grassy area and paint that as well. I encour-age beginning students to fully paint one grass clump, then thenext and so forth until the STOP process is a natural part of yourpainting process.

Enjoy the winter.

Snow Covered GrassIn my example to the right, you see that I take mytime going down the slope and then angling back overthe top of the left most rock formation.

This adds a nice little hill to the lay of the land and thebelievability of this painting just skyrockets.

When people can get lost in your paintings by study-ing all of the different elements and the lay of theland, you’ve done your job.

Landscapes are about beauty, about memory, and theytug at us for adventure. When your viewer connectswith a particular landscape painting, they’re longingto be in that very spot, or the place they’ve just beenreminded.

Such is the case with my painting, The Highlands.

I painted The Highlands after a rather exciting vacation to Scot-land and Ireland. I didn’t spend much time there, so I took acouple of bus tours and one particular tour showed us part of theHighlands.

I took photos, but they didn’t really come alive for me.

So I painted this scene.

Look at how the grass brings all of the different elements of therocks together.

When you see the grass covered rocks, the sense of the ruggedenvironment really comes home.

I also want you to look at the grass closely and note two things.1. Look for the dark. Do you see dark showing through the

grass and how it adds to the lay of the land?2. Look for the light. Do you see where I’ve added additional

highlight to reinforce the sunlight placement.

I also painted a small cottage, man and his dog along the streamto set the grandeur of the entire scene. This is the Highlands forme. I couldn’t capture it on film, but I did on canvas.


Begin by mixing together one of the following base winter foli-age mixes

1. PB & IB2. PG & PB

Either works quite nicely. If you’re making a small amount ofgrass, than just brush mix together the colors. If I need a largequantity of paint, I’ll use the palette knife. I see quite a numberof students who immediately mix way too much paint with aknife when they require only a small amount of paint. If you’renot sure, than use the knife.

Load a small amount of the winter foliage mix onto the edge ofthe brush and return to the canvas. Place the brush at the spotwhere you’d like to have the grass and stroke up about 1/8” to1/4” high. Continue up stroking the grass in until satisfied.

Inspect your work.

Your strokes should look like the left photo. I have one glaringerror in this sample. Can you spot it?

There’s a natural tendency to pull the grass straight from thepoint you place the brush. What you need to do instead is pullthe grass up toward the top of the canvas. Look at the left sideand the right side of the hill I’ve painted grass upon. Notice howas you go over the hill and descend the grass flows out in thesame direction.

That’s the importance of inspecting your work. Always check tomake sure everything is believable.

After correcting the grass, clean your brush by wiping it off witha paper towel. Return to the canvas and place the tips of theclean fan brush right at the base of each grass stroke and pull outto form the shadows.

Again, STOP, Think, Observe, Plan where the shadows shouldlie, and then execute.

You know the next step.

Inspect your work and make any adjustments required.

Move onto the next grassy area and paint that as well. I encour-age beginning students to fully paint one grass clump, then thenext and so forth until the STOP process is a natural part of yourpainting process.

Enjoy the winter.

Snow Covered GrassIn my example to the right, you see that I take mytime going down the slope and then angling back overthe top of the left most rock formation.

This adds a nice little hill to the lay of the land and thebelievability of this painting just skyrockets.

When people can get lost in your paintings by study-ing all of the different elements and the lay of theland, you’ve done your job.

Landscapes are about beauty, about memory, and theytug at us for adventure. When your viewer connectswith a particular landscape painting, they’re longingto be in that very spot, or the place they’ve just beenreminded.

Such is the case with my painting, The Highlands.

I painted The Highlands after a rather exciting vacation to Scot-land and Ireland. I didn’t spend much time there, so I took acouple of bus tours and one particular tour showed us part of theHighlands.

I took photos, but they didn’t really come alive for me.

So I painted this scene.

Look at how the grass brings all of the different elements of therocks together.

When you see the grass covered rocks, the sense of the ruggedenvironment really comes home.

I also want you to look at the grass closely and note two things.1. Look for the dark. Do you see dark showing through the

grass and how it adds to the lay of the land?2. Look for the light. Do you see where I’ve added additional

highlight to reinforce the sunlight placement.

I also painted a small cottage, man and his dog along the streamto set the grandeur of the entire scene. This is the Highlands forme. I couldn’t capture it on film, but I did on canvas.


Beach GrassBeach grass really enhance the ap-pearance of seascape paintings.Should you be painting from a pho-tograph or reference materials thanyou have a pretty good idea wherethe grass will reside. If not, here’san excellent guideline. Put a touchof PB & BU onto the tip of your #3fan brush and head up to the beachyou’ve just painted.

Using the shaded color stroke a linewhere to divide the beach into sanddunes. Blend the tops of each lineupward, while leaving the bottomline alone. The tops of each sanddune should have beach grass.

Mix together a rust color of BS, ACand a touch of BU. Load the tips ofthe fan brush with this color andpress on several smiley faces whereyou’d like to have your beach grass.Wipe the excess paint off of yourbrush and then place the full widthof the fan brush into the middle ofthe smileys and pull upward. Youwill see a thick clump of grassemerge. Turn the fan brush side-ways and stroke up to indicate longgrass blades poking up out of theclamp. You can curve the tops ei-ther left or right to indicate the di-rection of the wind.

I like to put in the smiley faces forall of the beach grass locations andthen return back with a paper towelcleaned fan brush. Lift up the bulkof the grass about 1/4” or less andthen turn the brush side ways andpull out several long blades of grass.

At the root level of beach grassyou’ll find a really dark color. I usepure BU to and just stroke in thecolor with the edge of the fan brush.I’ll even pull a few blades of grassout just to give the clump depth.

Just be careful not to overdo this laststep, otherwise you’ll cover the en-tire grass with BU and all of the rustcolored grass will disappear.

Repeat this step for all beach grassclumps.

I will follow with a line brushloaded with the highlight color.

We’ve only put in the base beachfoliage color at this time.

I like to use at least three colors

1. Dark Green2. Light Green3. Yellow Ochre4. Optionally White or Cad Yel-

low Light.

Mix medium into each color aboveuntil the paint is the consistency ofink. Load the brush with the firstcolor by placing the #2 script linerhalfway into the ink fluid greencolor and twisting the brush in acircle a few times. Arch your strokeon the canvas from the base out inthe direction of the wind. I’ll repeatthis step for each of the four colors.You can add cat tails by pressing thetip of your liner brush onto the endsof any of the grass stems.

My painting, Day At Cape Cod il-lustrates the use of Beach Grass.


Beach GrassBeach grass really enhance the ap-pearance of seascape paintings.Should you be painting from a pho-tograph or reference materials thanyou have a pretty good idea wherethe grass will reside. If not, here’san excellent guideline. Put a touchof PB & BU onto the tip of your #3fan brush and head up to the beachyou’ve just painted.

Using the shaded color stroke a linewhere to divide the beach into sanddunes. Blend the tops of each lineupward, while leaving the bottomline alone. The tops of each sanddune should have beach grass.

Mix together a rust color of BS, ACand a touch of BU. Load the tips ofthe fan brush with this color andpress on several smiley faces whereyou’d like to have your beach grass.Wipe the excess paint off of yourbrush and then place the full widthof the fan brush into the middle ofthe smileys and pull upward. Youwill see a thick clump of grassemerge. Turn the fan brush side-ways and stroke up to indicate longgrass blades poking up out of theclamp. You can curve the tops ei-ther left or right to indicate the di-rection of the wind.

I like to put in the smiley faces forall of the beach grass locations andthen return back with a paper towelcleaned fan brush. Lift up the bulkof the grass about 1/4” or less andthen turn the brush side ways andpull out several long blades of grass.

At the root level of beach grassyou’ll find a really dark color. I usepure BU to and just stroke in thecolor with the edge of the fan brush.I’ll even pull a few blades of grassout just to give the clump depth.

Just be careful not to overdo this laststep, otherwise you’ll cover the en-tire grass with BU and all of the rustcolored grass will disappear.

Repeat this step for all beach grassclumps.

I will follow with a line brushloaded with the highlight color.

We’ve only put in the base beachfoliage color at this time.

I like to use at least three colors

1. Dark Green2. Light Green3. Yellow Ochre4. Optionally White or Cad Yel-

low Light.

Mix medium into each color aboveuntil the paint is the consistency ofink. Load the brush with the firstcolor by placing the #2 script linerhalfway into the ink fluid greencolor and twisting the brush in acircle a few times. Arch your strokeon the canvas from the base out inthe direction of the wind. I’ll repeatthis step for each of the four colors.You can add cat tails by pressing thetip of your liner brush onto the endsof any of the grass stems.

My painting, Day At Cape Cod il-lustrates the use of Beach Grass.


Meadow Grass

Mix TW into purple andmix to form a light lavender.Load the brush using a slid-ing motion and lightly tapthe lavender color onto partsof the meadow. I’ve noticedthat color in a meadow seemto go in waves. Waves oflavender, waves of white,waves of pink and so forth.Remember this paint mustbe thinner than the highlightgreen you just tapped toform the meadow.

I think of the differencebetween meadow grassand field grass as a sim-ple matter of flowers.

When I think of mead-ows I mentally see chil-dren playing and run-ning, their pets followingor my wife running tomeet me. It’s a warmfeeling and flowers arean appropriate extensionof this mood.

Lay in the base foliagemix and then highlightusing either the tappygrass method or thesmiley face method.

Mix another flower high-light color. In this I’m usingTW with just a tint of purpleto form an off white color.Load the brush using a slid-ing motion and lightly tapthe flower color onto partsof the meadow. Keep inmind that this paint must bethinner than the highlightgreen you just tapped toform the meadow.

Repeat with additionalmeadow flower colors.


Meadow Grass

Mix TW into purple andmix to form a light lavender.Load the brush using a slid-ing motion and lightly tapthe lavender color onto partsof the meadow. I’ve noticedthat color in a meadow seemto go in waves. Waves oflavender, waves of white,waves of pink and so forth.Remember this paint mustbe thinner than the highlightgreen you just tapped toform the meadow.

I think of the differencebetween meadow grassand field grass as a sim-ple matter of flowers.

When I think of mead-ows I mentally see chil-dren playing and run-ning, their pets followingor my wife running tomeet me. It’s a warmfeeling and flowers arean appropriate extensionof this mood.

Lay in the base foliagemix and then highlightusing either the tappygrass method or thesmiley face method.

Mix another flower high-light color. In this I’m usingTW with just a tint of purpleto form an off white color.Load the brush using a slid-ing motion and lightly tapthe flower color onto partsof the meadow. Keep inmind that this paint must bethinner than the highlightgreen you just tapped toform the meadow.

Repeat with additionalmeadow flower colors.


My painting, The Hiding Place, shows how meadow grass made with the tapping technique using a 1” brush ap-pears. In the middle ground I added white, blue and yellow flowers. You have to really look close to see them.The painting below, Broken Path, shows how meadow grass made with the #3 fan brush using the smiley facetechnique comes to life with white and yellow flowers. These flowers are barely noticeable due to the center ofattention at the dramatic display of flowered bushes.

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