On the hunt for views of Derbyshire over a full year, Richard Holland discusses the colours and techniques he uses to paint local scenery in oils

LEARNING OBJECTIVES

■ Tips for painting on location

■ Colour mixing for seasonal landscapes

■ How to add highlights and details

MATERIALS

• Canvas board, primed with modelling paste and a base coat of burnt sienna, 8x10in. (20x25.5cm)

• Canvas board, 16x 20in. (40.5x 51cm) for studio work

• Something to transport the finished painting (I made a small wooden carrying box)

• A plastic clear video box and expendable palettes

• Two small flat and one small Round Rosemary & Co brushes and an old brush for splattering

• A couple of sheets of kitchen towel

• A micro easel and brush case

• Wallace Seymour oils for both sketches and studio work: ultramarine blue deep, cobalt blue, cerulean blue, royal blue light, indigo, madder lake deep (alizarin crimson), Venetian rose tint, permanent yellow light, permanent yellow middle, Naples yellow deep, Naples yellow light, green gold, burnt sienna, raw sienna, burnt umber (for drawing with) and titanium white

• Wallace Seymour Coca Bella Thinner

• Winsor & Newton Galeria Heavy Carvable Modelling Paste