Rule of Thumb- Landscape Painting

http://hollandartstudio.com/

Compiled by Aaron Holland from random sources and experience.

1. A landscape should have a background, middle ground, and a foreground

2. The darkest and brightest colors/values should be in the foreground. They should lighten and cool comparatively as they fall away into the background (white is the exception to that rule- which tends to become slightly darker and bluer).

3. Yellow is the first color to fall away in a landscape, as it recedes into the distance.

4. Atmospheric perspective states that things become lighter and bluer as they recede into the distance(depth). refer to#2

5. The color of the sunlight affects everything it touches. If the sunlight is peach and it lands on a white house, the house will appear peach.

6. The shadows should be transparent- some reflected light should be visible inside them, as they are reflecting the sky to some degree. In other words, avoid making the shadows heavy and opaque, as it will not look natural.

7. Black does not exist in nature (only in black holes, or perhaps a cave at night!) so make sure your shadows have depth and transparency (as stated above).

8. When working in watercolor, the three-steps-forward rule should be applied. Background first, then middle ground, finally fore ground. Lightest to darkest.

9. The color of the sun is considered white light at its zenith, then as it starts its downward arc toward the horizon, the light gradually becomes lemony, then yellow, to orange to reddish, and towards a violet before it sets. *things to look for and observe in your own work.

10. Part of your job is to be selective. That is why a camera can be a distraction to the artist. The camera does not discriminate, it merely records all the details equally. It also changes the colors and flattens out the scenery. It can be a useful tool, but be sure you are also studying from nature!

11. Work bigger to smaller- establish the "big picture" before you attempt ANY details. General to specific. Simplify!

12. If something is wrong about your drawing/painting, change it as soon as you know what to do.

13. "Don't wait for inspiration to start, start and inspiration will find you". Even a commonplace scene can be made beautiful if it is felt, and carefully handled.

14. Soft edges suggest distance. For example a hill on or near the horizon will have a softer edge where it meets the sky that an object that is in the foreground.

15. When painting outside, try to start the foreground about 50 feet from where your standing. In other words, don't get to close to your subject.

16. Don't paint things, paint light. And try to notice the color of light and how it affects everything.

17. Colors change, values stay constant.

18. For grass- anything goes.

19. If you are having difficulty painting color, try deciding it's temperature first. Is it warm or cool?

20. Not everything in a landscape has to be colorful. As a matter of fact, if everything is colorful- nothing is! Try instead to see beautiful greys, colorful greys, and reserve your most colorful spots for the centers of interest- The WOW areas!

21. One artist said, when questioned about his art and his style: "I see things this way", and he pointed to the left, "another artist sees that way." I think the message is that we are not to try to paint like someone else, but to discover our own "vision", and paint faithfully according to that.

22. Toning the canvas to a light orangish color will help the sky look like it is radiating sunlight for small, quick plein-air sketches. Try other colors for noticeable effects on the finished product.

23. I find it helpful to "posterize" what I am seeing onto the canvas to start. What I mean is to simplify what I am seeing, so that it is like a cartoon image- simple, flat planes of color next to each other in accurate shapes. When that is done I can start to add details. That is known as capturing the "Big Look".

24. Design, drawing, values, color, edges- that is how I look critically at a picture. In that order.

25. Mix twice as much paint as you think you need, then use it all.

26. Unless it is a foggy day, try to avoid mixing white into your shadows and darks.

27. Details should be put in last, if at all! Remember, the power of suggestion can be more effective sometimes than spelling out every last detail. It is also important to remember that painting is interactive, and

28. You should know the color of the light at all times for each painting.

29. Start with a strong drawing and the picture will almost paint itself. The view should sense the accuracy of the drawing even if they don't notice it acutely.

30. Concentrate on first getting the major dark values placed accurately and in the correct place.

31. What is the subject? Start there. Everything else should support it, and it should be clear to the viewer what it is as well.

32. Generally, everything in light is going to be warm, and everything in shadow will be cool. The vibration of warm and cool will create interest and color vibration.

33. The brighter the sunshine, the darker and more opaque the shadows will appear. Overcast or low light days will have more depth and visibility into the shadow areas.

34. As a rule, value is more important than color.

35. Texture in the foreground, smoother as the landscape recedes into distance.

36. Contrast between values should be avoided. (For example: when a dark horizon meets a light value sky, try to find a transition, say a distant hill, to soften the jump.)

37. Feel the water, draw objects. Feel the water, the movement, the rythym. Concentrate and draw objects such as boats or buildings.

38. Light and Dark in a picture is different than light and shadow...both are important and should be understood before starting.

39. The background color should be mixed on the palette, while the middle ground should be mixed on the canvas. Likewise the foreground should show the most broken color effect giving it the appearance of nearness and texture- this concept is similar to that of texture (minimal or no texture in the background, higher texture in the foreground).

40. The canvas should be massed in if possible in one sitting, and then painted at the same time of day each time it is painted on. Special attention should be paid to the direction of shadows, and color/quality of light, maintaining cohesion during the entire painting.

41. It is not wasted time to study your chosen scene at different times of day and during different atmospheric effects, choosing the most flattering to depict your subject. The more familiar one is with the place, the better able to convey it in a picture.

42. Generally speaking, sky is lightest, ground is middle value, trees are darkest.