| Painting mist or fog turns an ordinary scene into | | | | use a very - very thin (watercolor consistency) |
| something special or specific. For example, mist | | | | white and go over the entire painting layer by |
| can indicate that it is morning before the sun has | | | | layer until the effect you desire is achieved. |
| burnt off the fog or it can indicate distance. Fog | | | | If the effect your looking for is mist or fog at |
| can add mystery suspense or even peacefulness | | | | the base of mountains or trees, then that’s |
| to paintings. | | | | pretty easy too. I paint with acrylics and they dry |
| You should decide beforehand if you want the | | | | quickly so this technique works well. After your |
| entire scene to contain mist of fog or just distant | | | | mountains or trees are dry, dry-brush with white |
| mountains and valleys. A scene that is fully misted | | | | from the bottom upwards. Remember the mist is |
| will have little detail in the background because | | | | very transparent, so you need to use a tiny |
| just like on a misty day – visibility is limited. | | | | amount of paint on a dry brush. Start at the |
| Look at other paintings and at nature and | | | | base, use circular strokes and work your way up |
| observe what you see. | | | | until the mist blends in. Do the same with |
| Let’s say that the entire scene will be misted. | | | | mountains or water scenes. |
| You most likely will use opaque or dulled down | | | | I would suggest practicing these techniques |
| colors and paint in the background, again use little | | | | before attempting to apply them to a finished |
| detail. A dry brush technique with circular strokes | | | | painting. If you aren’t comfortable, the last |
| makes a nice misty effect. Use slightly more | | | | think you want to do is ruin your work. |
| detail in the middle ground and more in the | | | | Remember, mist and fog are fairly simple |
| foreground. When the painting is done you could | | | | techniques that add tons of character to art. |