Drawing Tree-Covered Hillsides That Look Three-Dimensional (Not Flat and Lifeless)

You've been staring at this landscape reference photo for twenty minutes. Rolling hills covered in mixed woodland, atmospheric perspective, beautiful light filtering through the trees.

It should be the perfect subject for a dramatic coloured pencil drawing.

But every time you try to tackle it, the same thing happens: your hillside ends up looking like a flat wall of generic green scribbles.

No depth, no atmosphere, no sense of trees receding into the distance. Just a confusing mess that bears no resemblance to the layered, dimensional landscape you're trying to capture.

I used to think these complex woodland scenes were beyond coloured pencil's capabilities.

Surely you needed oils or watercolours to capture that atmospheric depth?

But then I discovered a mixed-media approach that changes everything: starting with watercolour pencil washes, then building detail with traditional coloured pencils.

This page assumes you're comfortable with basic tree observation and structure. If you find yourself still guessing at tree shapes or struggling with individual tree forms, master tree observation fundamentals first - it'll make everything I'm about to share much more effective.

This technique allows you to establish atmospheric perspective quickly, differentiate between foreground and background vegetation, and build up realistic tree textures without getting lost in overwhelming detail.

Most importantly, it solves the "flat hillside" problem by giving you control over depth and light from the very beginning.

In this tutorial, I'll show you exactly how to use this mixed-media approach to create convincing tree-covered landscapes.

You'll learn how to establish depth with colour temperature, when to use loose washes versus detailed pencil work, and how to make distant trees look genuinely far away rather than just smaller versions of foreground trees.

We'll also explore when to use watercolour pencil techniques for individual trees versus building up detail with traditional coloured pencils.

The best part? This technique works whether you're drawing the rolling hills of the Cotswolds or the rugged landscapes of the Scottish Highlands.

Is This Mixed-Media Approach Right for Your Landscape?

Before we dive into the technique, let's make sure this method matches what you're trying to achieve in your landscape work.

Use This Mixed-Media Technique When You Want To

Create convincing atmospheric depth with trees that clearly recede into the distance
Handle complex woodland scenes without getting overwhelmed by detail
Work efficiently on larger landscapes - this method covers ground quickly
Achieve rich, layered colours that single-medium approaches struggle with
Capture dramatic light effects filtering through tree canopies
Build professional-looking landscapes that show real technical skill

Perfect for: Rolling countryside, wooded hillsides, complex vista drawings, any landscape where trees are a major element but not the sole focus.

When This Approach May Not Be Your Best Choice

Single tree studies where you want maximum individual detail
Quick outdoor sketches where you need to work fast with minimal supplies
Highly detailed botanical work where species accuracy is crucial
Simple compositions where mixed media might be overkill
When you're just starting out - master individual tree drawing first

The Reality About Landscape Tree Drawing

Drawing individual trees is one skill.

Drawing convincing tree-covered landscapes is another entirely.

It requires understanding atmospheric perspective, colour temperature changes, and how to suggest complexity without actually drawing every leaf and branch.

This mixed-media approach solves these challenges systematically, but it does require patience and some experience with both watercolour and coloured pencils.

If you're new to either medium, practice the techniques separately before combining them.

What Makes UK Landscapes Challenging to Draw?

British landscapes present unique challenges that this mixed-media technique is perfectly suited to address.

Characteristic UK Landscape Features

Mixed Woodland Composition

Challenge: Different tree species create complex colour and texture variations
Solution: Watercolour pencil base lets you establish different colour areas quickly
Key insight: Don't try to draw each species individually - work in colour families

Atmospheric Weather Effects

Challenge: British light is often soft and hazy, creating subtle atmospheric perspective
Solution: Watercolour washes excel at capturing these gentle transitions
Key insight: Less contrast in distant areas, more blues and cool tones

Rolling Topography

Challenge: Gentle hills can look flat without proper depth cues
Solution: Strategic colour temperature shifts create convincing depth
Key insight: Warm colours advance, cool colours recede

Dense, Layered Vegetation

Challenge: British woodlands often have multiple canopy layers

Solution: Build complexity gradually through multiple layers

Key insight: Suggest detail rather than drawing every element

Essential Supplies for UK Landscape Artists

Watercolour Pencils for Base Layers

Derwent Watercolour Pencils

Where to buy: Hobbycraft, local art suppliers

Price range: £12-115 for sets

Essential colours: Sap Green, Olive Green, Yellow Ochre, Raw Sienna, Ultramarine, Burnt Sienna

Why these work: Good colour range for British woodland, reliable activation with water

Traditional Coloured Pencils for Detail Work

Faber-Castell Polychromos

Where to buy: Jackson's Art Supplies, Amazon UK
Price range: £30-70 for landscape sets
Why essential: Work beautifully over watercolour pencil base, excellent for fine detail
Key colours: Earth Green, Chrome Green, Naples Yellow, Van Dyke Brown

Paper That Handles Mixed Media

Bockingford NOT watercolour paper - Excellent tooth for both wet and dry work

Saunders Waterford NOT - Premium option, handles multiple layers beautifully

Fabriano Artistico - Italian paper, superb for mixed media landscapes

Size recommendation: At least A3 (11"x17") for landscape work - larger scenes need space to breathe

Additional Equipment for Outdoor UK Work

Portable water container - Essential for activating watercolour pencils on location
Natural sponge - Better than synthetic for lifting and blending
Kitchen roll/tissue - For lifting colour and creating texture effects

How Do You Create Realistic Tree-Covered Hillsides?

Here's my systematic approach that builds depth and atmosphere from the ground up:

Step 1: Analyse Your Reference for Depth Cue

Before making any marks, study your reference photo or scene:

Identify the depth layers: Foreground, middle ground, background trees
Notice colour temperature shifts: Are distant trees cooler (bluer) than near ones?
Study light direction: Where does light hit the tree masses?
Find the sky holes: These are crucial for creating believable tree shapes
Observe atmospheric effects: Do distant areas have less contrast?

The scene above the harbour in Polperro, Cornwall, UK

Step 2: Plan Your Colour Strategy

This is where success or failure is determined:

Foreground trees: Warmer greens (yellow-greens, olive tones)
Middle distance: Neutral greens with moderate warmth
Background trees: Cooler greens (blue-greens, grey-greens)
Shadow areas: Always cooler than lit areas in the same depth layer
Sky holes: Plan these now - you can't add them convincingly later

A close up of the hillside

Step 3: Establish the Underpainting with Watercolour Pencils

This is where the magic begins:

Start with your furthest trees: Use cool, pale colours
Block in major tree masses: Don't worry about individual trees yet
Vary the colour temperature: Even within the same distance layer
Leave sky areas completely untouched - resist the urge to add colour everywhere
Work light to dark: You can always add more colour later

Step 4: Activate Your Underpainting Strategically

This step creates the atmospheric foundation:

Use clean water and a clean brush for each colour area
Work in sections: Complete one area before moving to the next
Blend colours gently: Let them flow naturally rather than overworking
Lift colour where needed: Use clean, damp tissue to create lighter areas
Allow complete drying: This is crucial before adding coloured pencil layers

Step 5: Build Form with Traditional Coloured Pencils

Now we add the convincing detail:

Start with your darkest shadow areas: This establishes your value range
Use directional strokes: Follow the natural growth patterns of foliage
Build up gradually: Multiple light layers rather than heavy pressure
Maintain your colour temperature plan: Keep distant areas cool
Add texture selectively: More detail in foreground, less in distance

Step 6: Refine Light and Atmosphere

The finishing touches that make it convincing.

Enhance your lightest lights: Where sun hits the tree tops
Deepen your deepest shadows: Usually underneath large tree masses
Check your atmospheric perspective: Do distant trees look genuinely far away?
Refine sky holes: These should vary in size and be irregularly shaped
Add final textural details: Branches, trunk glimpses, but only in foreground

What Are the Critical Success Factors?

Colour temperature control - This creates depth more than anything else
Gradual contrast reduction - Distant areas must have less contrast
Selective detail - Don't try to show everything equally clearly
Consistent light direction - All tree masses must follow the same light source
Strategic sky holes - These break up masses and add believability

Why Do My Tree-Covered Hillsides Look Flat and Unconvincing?

Problem 1: No Atmospheric Perspective

Signs: All trees look the same distance away, no sense of depth

Cause: Using the same colours and contrast throughout the scene

Solution: Distant trees must be cooler, paler, and have less contrast than foreground trees

Problem 2: Overworked Watercolour Base

Signs: Muddy colours, lost whites, base layer too dark

Cause: Adding too much pigment or water in the underpainting stage

Solution: Keep watercolour washes light and transparent - they're just establishing colour areas

Problem 3: Inconsistent Light Direction

Signs: Trees seem lit from different directions, confusing shadows

Cause: Not maintaining a clear light source throughout the drawing

Solution: Decide on light direction at the start and stick to it consistently

Problem 4: Too Much Detail in Wrong Places

Signs: Background trees as detailed as foreground ones

Cause: Drawing what you know rather than what you see

Solution: Save detail for foreground only - suggest everything else

How Do I Handle Specific Mixed-Media Challenges?

"My coloured pencil won't stick over the watercolour pencil base"

Ensure the watercolour layer is completely dry before adding coloured pencil
Use light pressure initially to establish tooth on the smooth watercolour surface
Try a different coloured pencil brand - some work better over watercolour than others
Consider using a fixative spray over the watercolour base (test first)

"Everything looks muddy and overworked"

You're likely using too many colours in each area
Stick to 2-3 colour families per tree mass
Work lighter in the underpainting stage
Allow more white paper to show through

"I can't create convincing atmospheric perspective"

Study real landscapes more carefully - notice how much cooler distant areas really are
Exaggerate the temperature differences more than you think necessary
Reduce contrast in distant areas significantly
Add more blue/purple to distant tree colours

"My tree masses look like flat cutouts"

You need more variation within each tree mass
Add lighter areas where light hits the canopy
Include darker pockets where trees overlap
Remember that tree masses are three-dimensional forms

What About Working Outdoors in the UK?

Managing Changing Light

British weather changes quickly - take reference photos for colour
Start with the underpainting on location, finish detail work in the studio
Overcast days provide more consistent light for extended outdoor sessions
Early morning and late afternoon offer the most dramatic light for landscapes

Practical Outdoor Considerations

Bring more water than you think you need for watercolour pencil work
Pack tissues/kitchen roll for lifting colour and cleaning brushes
Consider working larger than usual - landscape scenes need space to breathe

How Does This Mixed-Media Approach Fit Into Your Landscape Development?

This hillside tree technique is part of a broader landscape drawing skillset. Here's how it connects to other essential abilities:

Which Foundation Skills Support This Technique?

Master individual tree drawing first - Understanding single tree structure helps with complex scenes
Study atmospheric perspective principles - Essential for convincing depth in landscapes
Understand colour temperature - The key to making distant areas recede

Where Can You Apply This Mixed-Media Approach?

Complex landscape compositions - Perfect for establishing major colour areas quickly

Landscapes with water - Trees reflecting in lakes and rivers

Urban scenes with vegetation - Parks, gardens, tree-lined streets

What Should You Practice First?

Don't attempt a complex hillside scene as your first mixed-media project.

Start with a simple composition: perhaps three trees at different distances, or a single hill with scattered woodland.

Master the colour temperature shifts and atmospheric effects on a manageable scale before tackling complex vistas.

The most important skill to develop is seeing colour temperature differences.

Spend time outdoors just observing how trees change colour as they recede into the distance. This observation is as crucial as the technical execution.

Struggling with Mixed-Media Techniques

Combining watercolour and coloured pencils requires understanding both mediums individually before merging them successfully. If you're finding the technical aspects challenging, there's no shame in stepping back to master each medium separately first.

What specific aspect of this mixed-media approach is giving you trouble?

Whether it's getting the watercolour base right, achieving convincing atmospheric perspective, or managing the transition between wet and dry media, I'd love to help you work through it

Every professional landscape artist you admire had to learn these depth-creation techniques systematically.

The patience you invest in understanding atmospheric perspective and colour temperature will serve you in every landscape you create, regardless of medium.

Ready to Transform Your Landscape Work?

This mixed-media approach opens up possibilities for tackling complex landscape subjects that might have seemed impossible with coloured pencils alone.

Once you've mastered the basic technique, you'll find yourself seeing landscape subjects differently - noticing the subtle colour shifts that create depth, understanding how light unifies complex scenes.

The key is starting with clear intention: know your depth layers, plan your colour temperature strategy, and build systematically from background to foreground.

Trust the process, even when early stages look loose and unfinished.

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