To put down these colours, I was pretty careless with the brushes I used, which isn’t good. I’d like to work as closely to natural media as I can, and with natural media you have to be careful and delicate at every step. I went pretty rough and ugly here, so it doesn’t really matter which random brushes I picked. It’s pretty bleh. But it’s important to mention I used mostly low to medium opacity, like washes of watered down paint, until I got the concentration I wanted.
If you use a colour picker, you’ll see most of my greens, especially in the grass and the sun-lit vegetation, are in the yellow range.
This is because as go you towards more blue greens, if you use them saturated for plants, they will look very electric, and artificial in a sunny scene like this.
Next, I started to block in some darker colours; deeper greens for the shaded vegetation, and a greenish brown for the tree shadows on the ground. Why a greenish brown, if I started with orange for the lit part? Because the green leaves are casting the shadow, and since they’re not completely opaque, they cast a green tint.
For the background, I first painted what would be the colours of the most distant visible objects. I painted a blue silhouette of the distant plane. On this blue, I applied transparent layers of colour for the several distant objects. I picked very de-saturated colours (as colours get less saturated and contrasting with distance). As these mix with the blue, they gain a blue tint, which happens in clear days to objects at large distances. That’s aerial perspective: http://en.wikipedia.org/wiki/Aerial_perspective
For rendering the grass, I used brushes with “bristles” with pretty high (but pressure-variable) opacity, and then I jumped in with the round, variable-width brush for some individual strands.
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