The A-Z of Landscape Painting (Part Three)
The last in the A-Z in this series of blogs, sharing my insights and processes in landscape painting. This one is a bit longer as I didn't really want to split the last group of subjects up. It has been lovely to write these little behind-the-scenes explorations, and I hope you have enjoyed them too.
Q is for Quality & Quantity
Quality is very much a subjective view in art, but from a personal practice point of view, I think it is something artists always strive for, and will usually only share with others, their galleries and buyers the best work they have done at that moment in time.
When it comes to painting landscapes, the most successful are those that have the visual impact that make a viewer want to take a closer look, and buy. The quality lies in bringing all the elements of a landscape painting together to recreate a memory, or imagined snapshot in time, that expresses my experiences with emotion and a narrative.
The quantity of art produced is also personal to the artist. Some artists work fast and can complete a lot of art in one year. It all depends on what we are counting. The amount of paintings I produce ready to sell in a gallery doesn't include the paintings that fail, those I paint on location, or the test paintings I do in preparation. Due to the quality of painting I want to produce, and how long that takes, the quantity I have ready for a gallery can be less than 10 some years. But I'd rather have quality over quantity in my production rate.
R is for Reflect & Review
Reflection is an introspective process where I think about my art practice, my thoughts and inspirations, and how and why things have gone a certain way. I tend to continually reflect on my work, and this helps me to learn from any experiences in the studio or on location. I look at which paintings have worked the best and why.
With landscape paintings in progress, reflection and review occurs all the time. When working at the easel, I frequently step back and take a look at how a painting is going. I ask myself questions about the critical elements of colour usage, light, shadow, proportions and shapes. Am I telling the story well? Am I painting what I planned to paint, or have I gone off the path? Is it better or worse for deviating?
This part of landscape painting is essential and absorbing.
S is for Shapes
Shapes are everywhere in the landscape, and the relationships between these shapes is what tells the story of the painting. The process of deciphering a complex landscape is arranging the masses and forms (areas of light/dark and objects) and positive/negative shapes, into something that make sense. Simplifying the shapes and arranging them in such a way that guides the viewer around the painting is essential. This is why I do test drawings and colour testing before I start the final painting. Through manipulating the forms/masses and their edges, land lines, contrast and colour, I can bring a landscape to life. I often find that on location I will sketch/paint a scene as it is, with an emphasis on something that catches my eye. Then back in the studio I will enhance colour, simplify backgrounds and objects to create the "less is more" effect. Using methods that create illusions of detail, and impressions of what I have observed, the painting can breathe and tell it's story well.
T is for Textures and Temperature
Textures in a painting create areas of interest. I use physical texture a lot in my paintings to create expressive impressions of fields and hills, and on the bark of trees and bushes. There are a variety of ways to create tactile texture, but I mostly use paper, texture paste, modelling paste and mica flakes. I find they add to the dimensional aspect of the painting. I also use brushwork, colour and contrast to create the impression of texture.
The temperature of a painting refers to the colours used that will create either a warm, cool or neutral atmosphere. My paintings are heavily influenced by the seasons, so temperature is an important factor for me. But temperature also affects the mood of a painting. For example, I tend to exaggerate the colours of autumn in my paintings, using copper, orange and gold for drama. There is something about the changing season heading into winter that makes me yearn for the comforts of a warm and inviting home and low golden sunlight reflecting off the landscape.
U is for Unique
All landscapes are unique, and all landscape artists paint them in their own unique way, due to the way they see the landscape, and the way they choose to depict what they see. The results are a huge variety of collectible paintings that people, with their own likes and dislikes, can own.
For all the reasons I have mentioned so far in my A-Z, paintings are unique in the way they are created. Even if someone copies another artist's work, it will never be exactly the same. So many things influence a final painting too, including the environment, the equipment used, the artist's mood and health.
Long ago, my aim, like many artists, was to find my visual voice and create work that expressed what I love about landscapes and painting. Truthfully, that wont is never satisfied, and I will continue to develop my visual voice until I physically can't paint anymore. I aim to be one of those artists who never stop until their body prevents them from doing so. There is something so fulfilling about painting in my own way, and the path I have taken through experimenting, listening to my inner voice, and trusting the process has resulted in a successful experience so far. (And long may it continue!)
V is for Values
Understanding values in landscape painting is crucial to creating a eye-catching artwork. Every area, mass and object has a value on a black and white scale, no matter the colour. Being able to identify values in the landscape helps with mixing the correct tint, tone or shade of colour to retain the light and dark contrast.
A tint is a colour that has only white added to it.
A tone is a colour that has grey (black and white) added to it.
A shade is a colour that has only black added to it.
When I'm working at the easel, I will periodically take a photo of the work in progress to check that the values are correct. When I can see that the painting has depth created by the lights and darks, I know that the painting is going well.
Painting autumnal paintings are a particularly challenging because oranges appear very bright to us, which is an illusion! Bright colours often fool us into thinking they are light in value, so checking by taking a photo and converting it into black and white helps to keep the values true.
W is for Why?
Why paint landscapes?
Painting landscapes for me is a way to express my deep connection to nature and the environment in which I find the most peace. I grew up in the wilds of Suffolk, in a quiet hamlet. Daily walks with my father and our dog made me appreciate and begin to understand the mysteries of wildlife and seasons. I frequently gazed upon fields and horizons changing with the weather from my bedroom window.
I find landscapes awe-inspiring, but relaxing, and a reminder of how beautiful and precious this world is. It is also a reminder that the only constant is change. Living in the UK we are lucky to have four seasons, each just a few months long. This ever changing environment provides so much inspiration in colour, wildlife, weather and light quality. There is never a dull moment in a landscape. Going out painting on location just for two hours can provide several different instances of changing light and mood. I like the challenge of this, and wait in anticipation for just the right elements to come together to make a wonderful scene. Just the other day I observed with curiosity the way a white house in the landscape kept appearing and disappearing depending on the cloud movements across the sun.
I'm very happy in a natural environment, and I find it grounding and comforting. This is why my landscapes portray tranquility with little glimpses in time of happiness and wonder.
X is for Expression & Experiment
Painting landscapes for me is expressive and experimental. I like to take time out from the easel to play with paint in order to express myself and to discover new ways of working with paint.
A couple of years ago I set myself a challenge of 30 days of marking-making using different mediums. After that I created a series of very expressive landscapes using acrylic on paper. The result of this led to introducing some new things to my next body of paintings.
Finding ways to be creatively expressive with painting is what helps the visual voice we have as artists to grow and develop. Without this transforming practice our work becomes less satisfying to ourselves, and to our collectors.
Y is for Year and Yourself
Landscape painting is something that happens all year round. Approaching painting in this way helps to be resilient against reasons that may stop painting - the weather, public holidays and commitments.
I mention this because I have found I need to be adaptable to these things and find ways to keep expressing myself through landscape painting whatever the circumstance, and encouraging ourselves to engage a variety of related activities keeps us fresh as artists. Over time I have found the following ways to keep painting throughout the year.
Dedicating time in the studio without disturbance
Sketching for just 15-30 mins when on holiday
Reading about landscape painting
Combining a walk with a quick sketch on location
Studying other landscape painter's work
Experimenting and playing with paint without boundaries
Doing a workshop or course
Teaching
Writing
Taking reference photos
All of these things add up to a successful landscape painting year.
Painting for yourself, and as yourself, is crucial too. I have learned that being true to myself in the way I interpret and paint landscapes is the only way to work. When I started out I had a vision for what my work would look like, but it is a long road, and I am still travelling it. As I mentioned in the 'u is for unique' section, all painting is peculiar to the individual, and embracing our abilities and potential is key to successful landscape painting.
Z is for Zen and Zest
I thought I'd end with these words as they describe a dichotomy that really explains my landscape painting practice well. Ultimately I am looking to describe a peaceful and welcoming artwork that celebrates all that I love about landscapes, but in order to paint it I have to approach it with energy and passion. This curious state is best described as an energised calm where I pursue my goal by trying to balance the two.
When observing the landscape it can appear serene and wonderfully balanced, but behind the scenes life is bustling, transforming and alive with high energy. I guess this is what drives me to paint this amazing nature that is quietly, but vigorously existing.
Therein lies the magic of the landscape, and it drives me to capture it with paint.
That's the end of my A-Z of landscape painting. If any of this series of three blogs resonate with you, or you have more to add to what I have explored so far, feel free to comment below.
Back next month with a new topic!
Deborah x
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