The A-Z of Landscape Painting (Part Two)
- Deborah Burrow
- 5 days ago
- 6 min read
Following on from last month, part two covers aspects of landscape painting beginning with the letters I - P.
I is for Inspiration and Interpretation
In order to paint a landscape, something has to inspire me to consider rendering it into an artwork. As I have mentioned in previous posts I gather ideas through sketching on location and taking photos. I then take my ideas and develop them back in the studio.
Interpreting a scene is down to the medium used and my personal artistic voice. The way landscapes can be portrayed ranges from realism to abstract, and relies on colour, light and form to set a mood. My take on landscape always involves lots of texture, with an impressionist influenced background and a more detailed depiction of trees and wildlife.
"Under the Skylarks" is inspired by the beautiful coastal heathland near where I live, where the birch trees are a common feature. I took a photo on a hot day when the heather was in full bloom, and the skylarks were singing loudly above. Developing the idea back in the studio I opted for strong warm colours to convey the heat, and a single birch tree to symbolise the oddly remote feeling I had on the heath. I used a lot of texture to give the impression of the rough ground cover.
J is for Journey and Joy
Landscape painting is a journey in more than one sense. Quite often my paintings suggest a journey like a walk or trail. But the act of making art is a journey in both finding the right inspiration and in the development of the painting. I find it is a wonderful calming journey-taking my initial inspiration sketching on location, and then making it into a painting that sings with colour, texture and mood. Even difficult times at the easel encourages me to grow. The continuing learning benefits future projects.
K is for Key Knowledge
A successful painting depends on having an understanding of the fundamental principles of landscape painting. I have gained knowledge through study, and I still have to revisit some aspects when challenged with a new project. The greatest challenge is transforming a two-dimensional photo or sketch, into believable three-dimensional scene. The fundamental considerations include composition, atmospheric perspective, linear perspective, light/shadow, colour, and texture. In addition, the I need to know my materials well - medium, surface and application. The skills required take many years to learn, and with those years come confidence. But I believe we, as artists, are still learning and developing our skills.
L is for Lines and Layers
The lines and layers in a painting are what give it depth and interest. I want the viewer to be lead around the painting and see interesting areas that relate to the whole painting.
The types of lines I need to consider include: the horizon line - (an essential line in landscapes that aids the viewer in comprehending the depiction), and lines that convey perspective (guiding the journey into the painting), both of which assist the viewer in following the narrative.
But lines can also be expressive, like in "Wind on the Moor", where I creatively characterise the wind in the sky, and the motion of the scene. Running the broken blue lines from left to right in the foreground intimate the fragility of the landscape, while the golden lines of the foliage on the bottom left suggest the wind also gusting in a different direction intimating squally conditions.
M is for Movement
Movement in a painting doesn't solely rely on lines like in, "The Wind on the Moor". Other elements like the use of colour, shapes and objects can create energy or life in a painting, however subtle.
Other indications of movement are people, water, animals and birds. Their presence gives the viewer an indication that life is in motion in the scene. I often add birds into my work to give lift to a scene. Even when animals are in repose like the foxes and badgers I depict in dens, there is the sense of breathing, and with birds on branches there is the impression of birdsong.
In "Wild Coast" I have used sea spray and a flying seabird to describe the movement of the waves and wildlife. In that moment, the viewer can almost 'hear' the sea and the calling of the bird.
N is for Nature
Nature is a term that refers to the environment and everything that resides with in it. It also encompasses the weather and seasons. Landscape painting is the study and portrayal of nature and all its forms.
When I think about painting nature, I hone in on the wildlife of the landscape. In my, 'The Heartbeats Underground,' series, I portray foxes and badgers in repose, which is a reminder to the viewer that wildlife goes about its secret life in the landscape, even if we can't actually see it.
The joy of painting landscape is that there is so much nature and diversity to choose from. No two angles on nature are the same, and it provides a landscape painter like me with endless possibilities.
I'm also a believer in the power of nature and how it can heal the mind and body (and soul). My work focuses on the peaceful side of nature to soothe the senses and encourage calm.
As a lover of nature I want to protect the environment and I care about wildlife, not just because it is beautiful, but because without it our own health declines.
O is for Observation
Without observation of the world around me, I would not have the ability to interpret what I see and render it into a painting. Learning to draw and paint well takes a long time, and just like any other skill, observation is the key to unlocking creativity. I have found that the way observed elements interact is what creates magic in painting landscapes. Through sketching on location observing colour, shape and contrast, it largely now comes as second nature. But those skills still need brushing up occasionally, and earlier in the year I took a course in Still Life, to sharpen up my observation skills. The nice thing is that it rekindled a desire get out, 'En Plein Air' this year with my portable easel and tube paints. Usually I go out with my watercolour sketching kit each year during the warmer months. Sketching allows for adjustments of the drawing before painting. But during the Still Life course, we practised painting directly with a brush, without pre-drawing. It is a skill that I don't use often, so I'm giving myself an extra challenge this year!
P is for Preparation and Paints
Preparation for painting either in the studio or on location is essential. A project can otherwise seem very stressful and difficult to get the desired results. Before I start a painting, I select the best surface on which to work. It has taken me many years to find the right surface for the effects I want to create. With so many options available on the market now, I need to know how to approach using the different surfaces.
These days when I paint landscapes, I work on cradled birch boards. To prepare them for painting, I prime them with gesso, with a gentle sanding between layers. I then apply textural medium or materials onto chosen areas of the painting. I always plan out my paintings in the studio, so that I can get the required ground effects I want in place (and dry) before I start painting. (You can read more about my planning stages in this blog.)
Another part of preparation is getting all the paints and tools ready to hand. With a permanent studio space, it doesn't take me long to get ready when I have a project in progress. But starting a new painting needs careful planning, including colour and medium choices, so I can progress without wasting time finding things.
In the studio I mainly use acrylic paints and inks. Having experimented with a variety of paint, I tend to stick to brands such as Liquitex, Winsor & Newton, Schminke and Amsterdam. Through trial and error I have worked out which colours I like from each brand, and have found a way to work with them successfully. Each time I start a new painting, I roughly know which paints to choose, but still do a colour and composition test.
The preparation becomes part of the routine of working in the studio, and armed with a cup of tea and the radio on I can spend my time wisely and calmly.
Thank you for joining me on the second part of the A-Z of landscape painting. Join me next month for part three where I go through the letters Q - Z.
Feel free to comment below.
Deborah x
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