Landscapes PDF

BARRON'S ART HANDBOOKS
Advice
Techniques
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Boston Pubiio Library
LANDSCAPES
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CONTENTS
CONTENTS
THE MEDIUM
Working
in the Studio.
Combin22-23
ing Techniques
The Medium and the Landscape. The Earliest Landscapes

Were Painted on Stone. The Me-
Choose a Palette
SURFACES, MATERIALS,
AND ACCESSORIES
the French
Academy
to the
Impressionists. Twentieth-Century
6-7
Landscapes
Mixing Colors. Color Theory
Applied
The Fast Sketch: Outdoor
Equipment. The
als:
8-9
pressionist Painters
Details and Spontaneity in
Painting. Quick Painting and

Expression.
Pastels,
Areas Untouched. Letting the

Colors
Drawing Pads and CanThe Camera. The Impres-
Landscape
Working
nation.
24-25
in the Studio. Illumi-
The Use
of
Photographs
ing Trees. Using a Pencil.

Watercolors.
Ink.
Acryhcs.
Pastels.
12-13
Medieval Synthesis
Evaluating Planes in Pastels.

A Fast Technique. Building up the
Painting.
ground
al
Evaluating the Back-
of the Paper.
Plane
to
From Gener-
Foreground. Pastel as
a Technique for Rapid Painting.
How to Store Your Paintings. The

14-15
Density of Pastel
Watercolors and the LandA Spontaneous

yet Complex Medium. Painting on
Wet Paper. Painting on Dry Paper.
Turner and the Landscape. .16-17
scape. Materials.
Acrylics and the Landscape.

Is Acrylic Resin? A Good
What
Technique
for
Landscapes. Dis-
advantages. Textured Work. The

Palette
and Color. Applying the

18-19
the Theme.
Medium to
Oils and the Landscape.
Traditional Technique. Chro-
matic Potential. Surfaces for

Oil. Virtues of Oil. Religious
20-21
Scenes
Alternating Techniques. Aland Oil. Quick

Begirming and Slow Completion.
ternating Acrylic
of Field. The Renaissance and the Development of

38-39
Perspective
Chromatic Evaluation and
and Sketches. Basic Equipment

and Furniture. Use of Outdoor
the Surrounding Atmosphere.
Equipment. Cleaning Materials.
Chromaticism. Monochromatic
Treatment of a Landscape. A
Landscape with a Warm Tendency. A Landscape with a Cool
Tendency. The Harmony of
Working
26-27
in the Studio
TECHNIQUE AND
PRACTICE
and Reahsm.
Color
Landscape Composition. The
The Color Masses in a Composition. The Point of

View in the Oriental Composition. The Balancing of the Masses.
Section.
40-41
Types of Brushstrokes: Ap-
plying Paint. The Construction of Color Masses. Wash and

Watercolor. Flat Brushstroke.
Monochrome
Fast
Frottage.
Painting.
Landscape. Asymmetry
with Strokes
in
the
Composition. Types of Composi28-29
tion
Adaptability. The Division of
Painting.
The Drawing and the
Balance in a Twentieth-Century
Colorist
yght
Golden
Different Techniques for Paint-
of View. The Background Conditioned by the

Viewpoint. The High Horizon
Line. The Low Horizon Line.
The Relationship with the Sky.
Perspective. Vanishing Lines.
ors,
The Horizon Line and the
Depth
Show Through. Watercol-
Atmosphere Without Detail.

10-11
Pastels and Fauvism
to
36-37
Pastels.
Quick
Technique. Leaving the Painted
How
vas.
sionist
Gradation. Using the Palette.

Mixing on the Palette. Spontaneous Mixing on the Canvas.
Color and Brushstroke. The Im-
Easel. Materi-
Watercolors, Ink, Oils, and
the Subject. Tonal
to
From
Point
sance, a Technical Revolution.
From
Scrubland. Unreal Color.
Evaluating Earth Colors.
dieval Landscape. The Renais-
to
Blue to Yellow. Color Synthesis.
Alternating
Colors
42-43
Resolving the Whole. From

to Initial Color. Color Ap-
Sketch
proximation. Tonal Adjustment.
Space. The Planes in a Picture.
Ways
Adaptability and Perspective.
Subjective Contribution. Rough-
Adaptability and Composition.
ing-out the
Adaptability
and Depth. The

30-31
"Weight" of Color
Middle Ground,
of Interrelating Colors.
Canvas
The
44-45
Animals in a Landscape. The

Anatomy of an Animal. Propor
General
tioning a Horse. Animals and
Plane (Differences Between

Planes). Superimposing Planes.
Planes and Composition. The
The Basic StrucHousehold and Farm Animals. Color and Synthesis of

Animals in a Landscape. Contrast by Means of the Underpainting. Integrating the Animal
46-47
in the Landscape
Location of Planes in a Painting.
The Viewpoint. The Use of the

Grid. Chromaticism and Distance. The Use of White in a
32-33
Landscape
The Quick Sketch
in
Lead
Pencil. The Motif. The Evalua-
The
Stumping and
Expression. Taking Advantage
of the Light. Fast and Productive
tion of the Underpainting.
Size of the Paper.
Work
34-35
The Choice of Theme. The

Theme and Color. From Foliage
Prehistoric Art.
ture of
Rural Landscapes. Composiand Background. Important

Areas of the Painting. The Importance of the Motif. Planes and
Color. How to Use Different
Techniques. Van Gogh and the
48-49
Landscape
tion
Trees in the Landscape. Proand Perception.
portioning
Foliage. Painting a Tree. Rein-
CONTENTS
forcing the Colors. Determining
50-51
the Finish
Trees in the Landscape:

Branches and Leaves. The
Background. From Details to the
Overall Treatment.
A Thicket
as
the Composition.
Complemen-
when
Light
Painting Flowers.
Time of Day. Influence of the

Sky on the Landscape. Painting
Skies. The Color of the After-
66-67
noon. Light EstabUshes the Clari-
Points of Light
Within the Whole. Detail and the
Incidence of Light. Double Per-
Proximity of Planes. Botticelli's

52-53
tion of Light.
and Perspective. DrawWorking on Dimensions and Proportions. From

the General to the Specific. The
Detail
ing Instruments.
Reflection in
sis in
Still
Water. Synthe68-69
the Reflection
Different Planes in the Sixteenth
in Winter. Variety of Palettes.
54-55
Rural
Buildings,
Creating
Volume.
Distant
Weakens
the
ground and
Illumination..
Planes. Defining the Background. Underpainting that Defines Forms. Suggesting Volume.
The Reflection of Color on Buildings. Brushstrokes and Planes in
the Construction. Balancing Color and Forms. The Medieval
56-57
Landscape
River and Pond Landscapes.
The River and Pond Landscape.
Theme and Composition. Composing the Masses of Color Surrounding the River. The Palette
and the Color. Three Levels of
Development. Trees and the River. Lights and Shadows. Reflec-
58-59
tions at Night
Rocks
and
Landscape. GeomeThe Foreground

with Large Volumes. Volume and
Light. Light Envelops Objects.
The Light on the Subject. Unity in
a Landscape and its Chromatic Ef60-61
fect. Wet Rocks
try
in a
Stones.
Water: Rivers and Ponds.

Movement in Water. Color as a
Reflection of the Surroundings.
How
Riverbanks. The
Sky in a Reflection. Don't Muddy the Colors. Use White Daringly
62-63
to Paint
River and Pond Vegetation.

Reeds. Expression and Subtlety.
Planes and Features. Vegetation
and Movement. Plants on the
Banks. Diirer and Plants.
64-65
Wild Flora. Integration into

the Landscape. Roughing-out
70-71
ows and Lights.
Light Filtering
work
in the Sky.
Warm
of
Colors
86-87
of Light
Techniques, Chromaticism, and Highlights.

Chromaticism and Highlights.
Effect of Wetness in the Trees.
A Study of a Rainy Sky. The Rain
Rain:
strokes for the Points of Light.
Snow on the Mountains.
Variety
on the Horizon. Maximal Points
Using Pure Color to Create Contrast. Pure Color in Landscape

72-73
Painting
Sky.
Tones. Color Gradation. Brush-
Brush-
Specific
A Clear
Through the Leaves. How to

Paint Light Between the Trees.
Backlighting
and
Shadows.
Shadows and Tree Trunks in
Landscapes.
84-85
ums. Planes in the Sky
Wooded Landscapes. Shad-
82-83
Climate and Color. Each Season Has Its Own Atmosphere. The
Cool Palette. The Warm Palette.
The Mixed Palette. Ideal Medi
Back.
80-81
Horizon
Distance
Colors.
Whole
Depth and Color. Atmosphere

and the Palette. The Golden Section and Depth. Painting Planes
Through Clouds. The Clouds in
the Middle Ground. The General
Plane and the Elements Near the
Waves and ReverberaA Synthesis by Van

Gogh. Shadows in Reflections.
Mountains. Color Influence

According to the Season. Color
ty of the
spective.
Importance of the Foreground.

Century
the
Reflections on the Water. The
the Overall Composition. Details
Trees
The Sky and Its Color. The

Color of the Sky According to
Chromaticism. Superimposing Planes. Observation and

Blending. Reference Points and
tary
Palette. Highlights. Reflections

Differ-
in
Hues of White. Color as a

Shadow in the Snow. Tonal Varia-
88-89
Puddles
ent
A Stormy Sky. The Importance

Monochrome, TransOpaque Properties.
of Space.
of a Snowy Landscape.
Snow on Trees. The Palette for a
parent, and
Snowy Landscape. The Grayscale

Tonal Gradation. Snow and the
The Highhghts
tions
Influence of the Sky on the Earth.
in
Tips for Painting Skies. Old
Middle Ground, and Background.

Chromatic Variation and Dis-
Brushes.
The Atmosphere as a Filter. Using White and Perspective.

Relationship Between the Horizon
76-77
and the Sky
Light
Sunrise and Sunset. The

Chromaticism of the Sky to the
Essential
Strokes
tance.
Comparing Values and
Highlighting the Whole. Mono-
chrome Sketches and

ter of Interest.
of
the
Evening
Sky.
the
78-79
Circular
Clouds.
Indistinctness.
How
to Paint
The
Color
92-93
Foregrounds.
Objects:
Trunks,
Rocks, Trees. Composition and
Foreground. Determining
of Blending. The Use
of the Palette Knife and the Tip of
the Brush Handle. Detailed
the
the
|
Amount
Work. Van Gogh and the Fore94-95

ground
Cen-
and the
and
Painting
Blending
Tonal Gradation
Seurat
Frottage.
for
Uniformity of the Sky.
in
90-91
Description of the Foreground,
Light.
Volume
Clouds
Different Planes and Depth.
Application of Color. The Importance of the Moment and the
in the Clouds.
Contrast in a Storm.
74-75
Gradation of Grays
'
THE MEDIUM
THE MEDIUM AND THE LANDSCAPE

Painting, from
for
its
beginnings, has
made use
of the landscape as a point of reference
estabhshing the subject matter. Over the course of time, landscape painting
was transferred from walls
to other
more manageable surfaces such
as
papyrus and parchment.
Used
backdrop
as a
of nature, the
to historic, rehgious, or
landscape has been adapted
to
everyday scenes or simply as an allegory
each age, through the use of new techniques
and pictorial mediums.
The
Earliest
Landscapes
Were Painted on
Stone
Before the invention of writ-
peoples would
on the walls of their caves
scenes depicting activities that
ing, prehistoric
paint
were
vital for their survival,
hunting.
They
would use natural pigments
(umbers, charcoal, and ground
minerals) bound together with
particularly
animal fats to represent the

shapes of the animals and their
surroundings. Cave paintings
presented a
totally spatial
view.
Not knowing the rules of perspective, these early artists de-
picted the objects on the same

plane, using differences in size
ingly,
some
of these paintings
have survived down
to the
used
sent day.
Egyptian paintings also included landscapes as a back-
ground to the stories they told.

The most common medium
used by the Egyptians on the
papyrus was similar to what
we now
Material for tempera painting.
pre-
call
tempera, a pig-
ment bound with

egg yolk or glue.
either with
for these miniatures
tempera.
earliest paintings
was
murals in
churches, fresco was used.
The landscape formed the

background for these brightly
colored scenes, reveahng a
great capacity for synthesis and
Medieval landscape scenes were of an instructional nature, an attempt to
imagination.
lation.
The
the
illiterate popuThey therefore present-
inform a mostly
as their only reference. Surpris-
were
n]ade on the cave walls using

mineral pigments that were
sometimes bound with animal
and vegetable fat.
For
The Medieval Landscape
ed everything
in a simplified
manner, using a single plane

without the use of perspective.
Medieval painting, together

with the cultural heritage of the
Western World, was confined to

the monasteries.
copyists
and
Monks became
miniaturists
lustrated the codices
who il-
and copied
Bibles in which they included
explanatory scenes. These tiny
images accompanying the text

were painted on parchment, a
fine, cut and bound sheet of skin.
The basic pictorial technique
Page from The Book
of Hours, a
medieval manuscript with

miniatures painted in tempera.
The Medium and the Landscape

Mixing Colors
The Renaissance, a
Technic al Revol ution
With the
arrival of the Renais-
sance, art
emerged from the

new merchant class
convents, a
financed the construction of important buildings,
and the age

and early
of the great palaces
baroque cathedrals began.
grouped into guilds,

produce pictorial
works commissioned by the
nobility and also by the
wealthiest classes of societytraders and moneylenders.
Artists,
began
to
Painting evolved rapidly with
the introduction of
oil
Patrice Giordo, hi Sortie
de
la
Maison. (Second version). Acrylic on
canvas.
Pierre Alechinsky. Je Suis Loin. Acrylic on canvas.
Two versions of contemporary landscape painting.
Twentieth-Century Landscapes
paints
movements such
from the Low Countries. Techni-
Since the age of Impressionism, avant-garde
developments such as the

invention of perspective and
anatomy enabled painting to reproduce nature with a hitherto
unknown degree of realism.
Landscape painting was subdivided into urban landscapes
as the background to everyday
scenes and rural landscape as
the background to mystical, re-
Post-Impressionism, Fauvism, Cubism, Expressionism and Surre-
cal
hgious, or hunting scenes.
as
alism have followed each other at lightning speed, and the land-
scape has adapted to
all
of
these movements as one of the main
subjects to be interpreted.
Nowadays we cannot say
that a single
movement
exists.. .twentieth-
century landscape puts the legacy of the old masters into practice
via
numerous modern approaches.
From the French

Academy to the
pre Juced highly creative land-
Impressionists
ture
scapes painted directly from naitself,
with the color being
applied directly on the canvas.

In Paris, the
down
strict
academy
laid
rules concerning
both composition and propor-
Landscape painting was

no exception to this academic
pressure and artists were required to paint landscapes virtually from memory.
The contribution of the Impressionists, both to the theme of
the landscape and to the pictorial technique used, was decisive
for this break with academic
standards. Breaking away from
tion.
Leonardo da
The Lady of
and perspective
Vinci,
the Rocks. Oils
brought important developments

to the
representation of landscape.
the strict guidelines of the acad-
emy, the Impressionist painters

W. Turner, The Road to Ubierto.
Romanticism introduced us to
Their work was rejected
by con-
temporary critics, but was soon

to be accepted by younger generations of
artists.
Bj
Vincent Van
Gogh, Jar din de
the earliest abstract ideas through

landscape, and with Turner,
watercolors came back into their
painter
own.
away from acad-
Aries. Impres-
sionism led the

to
break
emic ideals both

in expression and
in the
use of
color.
MORE INFORMATION
Landscape composition p. 28
THE MEDIUM
MIXING COLORS
In landscapes, chromatic design has
an enormous influence over the
the use of the basic harmonic ranges, cool,
The mastery
landscape painting
of color in
is
warm, or
final result,
through
neutral.
an abihty acquired through much practice.
We will review such subjects as color theory when appHed to various approaches
landscape painting.
to
Color Theory Applied
As distance
to
When
increases, colors tend
to lose luminosity.
the Subject
the artist
faced
is
with a particular landscape,

the
first
aware
thing he or she
of,
or details,
is
When
the color.
a particular subject
is to
be
painted, irrespective of the
technique used, the

sideration
will
cism
ject
is
of
subject.
This
although the sub-
possesses
maticism, the
its
own
gradually
used when painting a landscape, the color has a certain

tonal
is
artist is free to
for his or
ing relationships of color are
Regardless of the technique
chro-
use any combination of colors
necessary
used, and therefore the excit-
T onal Gradation
con-
the chromati-
the
that,
first
the color that
make up
means
It often occurs during landscape painting that the color

complexity leads the artist to
drastically reduce the range
is
long before forms
her inter-
pretation of the subject.
Yellows,
ochers,
reds,
siennas,
umbers,
and
crimsons
form the
warm
ranges.
and covering power, so
important
to
being used.
Tonal evaluation can be observed directly from the landscape, i.e., from the point of
view of the observer. For example, an expanse of land
varies in color from the foreground back to the horizon. So
do the different elements of the
landscape, such as trees,
rocks, etc., together with the
weather conditions
Within the same landscape

a single color can have different intensities that aUer its
oranges
and blues
are
complementary
colors.
When
grays.
that also af-
fect the overall chromaticism.
Greens
and reds,
produce
it
the chro-
matic hmitations of each color
tone.
mixed,
they
know
Different
gradations
color obtained
on the palette.
lost.
After the initial colors have
been
apphed,
the
palette
should be used constantly to

mix the necessary tones and
colors. In this
way
the chro-
maticism progresses at the

same pace as the development
of the forms.
The
different
hues on the
by graduadding small amounts of

the color to be blended in. For
example, cerulean blue ac-
palette are obtained

ally
quires a greenish tinge
if
amount of yellow is
added, and if a small amount
of crimson is added to the resmall
sulting mixture, the result will
be
a bluish kaki.
The Medium and the Landscape

Mixing Colors
Details and Spontaneity in Painting
The
transparency of
watercohrs
owes its light
Spontaneous Mixing on
the
Canvas
to
The colors in landscape
the white of the
paper
paint-
ing can be applied freely and
mixed directly on the canvas.

For
this
painting, a
is
style
"direct"
of
wide range
of colors
urmecessary. Just the primary
colors
and a few earth colors
are usually sufficient. Rapid, or

alia
prima painting,
practical for small
is
mixed directly with the

background color
Painting
highly
works or
sketches. The colors are almost
always mixed directly on the

is an advantage
canvas, which
as far as
although
Mixing on the Palette
speed
it
is concerned,
does reduce the po-
tential for introducing different
hues. Rapid painting brings a
Whatever
technique
the
the per-
feehng of energy and excitement to the painting and is a
fect "test-bench" for experi-
useful technique for rapidly
menting with colors, be they

water-based colors or oils.
Mixing on the palette enables
synthesizing the forms and col-
may
be, the palette
is
us to find exactly the color

require.
As we saw
we
in the pre-
vious chapter, there are three

basic ranges (warm, cool, and
which all harmonic ranges can be obtained.

neutral) within
Within each range, the chro-
may
maticism obtained
clude
colors
belong
to
case of
oil
in-
actually
that
other ranges. In the

painting, the color
obtained on the palette
will not
change when apphed to the

painting. Water-based paints,
on the other hand, will dry differently on the painting than
on the palette. Transparent watercolor allows what
it
to
is
show through, be
beneath
it
ors of the landscape.
Color and Brushstroke

The mixture
of colors ap-
plied with the brush should
develop the necessary color

combinations for the subject.
When working on a landscape,
the forms should gradually
come to resemble those of the
subject, from the initial roughing out of the canvas to the
finished work.
Color and
brushstroke are determined
by
the type of brush. Different
brushes blend the colors in

different ways, depending on
whether they use a hog's hair
brush or a softer type.
the pa-
The Impressionist
Painters
The Impressionist painters
broke away from the academic
required a
that
ideal
rather
theatrical
nature
with
finicky
use of
an
view of
affected,
color.
The Impressionists' view

color
was
of
not the chromatic
mixture as
appeared
per of palette or an earlier apphcation of paint on the
the painting, but rather the
canvas.
overall
impression caused
on the
retina by the juxta-
it
in
posing colors.
This
Initial
development of forms.
landscape
Pisarro
is
in
oils
by
an excellent ex-
ample.
Different types of roughing-out.
^^'W
MOREmrORMATION
Mixing colors p. 8
Water: rivers and ponds p. 62
THE MEDIUM
DETAILS AND SPONTANEITY IN PAINTING

The subject
of landscapes in painting
any particular
style or period.
been present on
the easels of
entirely in the artist's studio.
It
many
to
by no means exhausted, nor does
artists. In
was not
later the Impressionists, that artists
and easels
is
it
belong
to
Throughout the history of painting, landscapes have

the beginning, landscapes
until the
were painted
nineteenth century, with the Realists and
began to venture
out of doors with their canvases
capture nature directly, painting with the same hght and atmosphere
that illuminated the subject.
an ideal medium for painting

quick,
spontaneous land-
Quick
Technique
Quick Painting and

Expression
Pastels, a
scapes.
In
tial
as
landscape painting the
ini-
stages are just as important
its
further
development and
completion. Right from the beginning,
when the
artists
are as-
sessing the composition, they

are preparing the
the painting
An
is to
memory.
to the
characteristics of charcoal or
It
is
way
of start-
work from
way, although
later have to refer
pencil.
Being a dry medium, pastels

possess characteristics akin to
Pastel
elements in the composition.

in
landscape
painting reflects the
masses
f/Vt
'
^-
artist's
ways advisable
to
It
first
in-
and then
of color
eval-
hues. The color should not be
>
Compared with drawing,

however, pastels provide
greater plastic and
chromatic potential.
blended together or stumped,

as this would detract from its
luminosity. Being an opaque
medium, subsequent layers
can be apphed.
Once the work is finished, it
is
advisable to store
portfolio
that
it
in a
has onionskin
separators so that the colors
do not get smudged.
command of technique and understanding of form.
painting
volves applying the overall
drawing.
subject, this effort to
summarize the subject will enable him or her to organize the

Expression
of the
uating the resulting tones and
In this
the artist will
of painting with pastels.
way in which
is to
medium
and thus have many
develop.
interesting
ing a landscape
Pastels are a dry
Halfway between painting

and drawing, is the technique
is al-
make use of
work
a sketchbook in order to
out various solutions to the
problem
at
hand.
Continuous exercise in quick

painting, with the discipline
This painting
involves,
is
one
proaches
to
landscape painting.
reveals the
of the best ap-
Sanvisens,
Windy Day.
This detail is an eloquent
of the
example
artist's pictorial virtuosity
reflected in
its
expression.
as
artist's
pastel
technique.
Ramon
by Claude Monet
it
Mixing Colors
and Spontaneity in Painting
Different Techniques for Painting Trees
Details
spontaneity to the painting.
and Fauvism
Pastels
For example, a green expanse

of land with ocher and orange
was a medium commonly used by the Fauvist

Pastel
painters.
see the
It
waiting for
ing
could
Alter the initial application of
paint,
new layers
allowed them to
final result
it
without
to dry and, be-
medium, colors
superimposed
be
dry
immediately, allowing un-
of color are
derlying layers of comple-
added.
colored grass will be more viif, before applying the
brant
green tones, the area
of dry
grass has been painted with

ochers and oranges.
The paint on the canvas

must be allowed to show
through in places so that when
show
different layers of paint are
Many of the areas originally
through subsequent layers,
painted should be left

untouched to maintain
thus lending vibrancy to the
added, a feeling of depth and

atmosphere is created.
mentary
colors
to
work.
their initial spontaneity.
Watercolors, Atmosphere
Without Detail
parency and luminosity inherent to this technique.
Letting the Colors
Show
Through
In
way
structed reveals
Leaving the Painted

Areas Untouched
Whichever pictorial technique you are using, you must
always bear in mind all the
stages involved in depciting a
landscape.
After the initial roughingout, additional layers of paint
are applied.
painter
An experienced
that many of the
knows
original areas should
unaltered,
since
be
this
work on the canvas
is
left
initial
more
spontaneous both in color and

form. For example, the fact
that the initial tones
used
for
painting the greenery of the
countryside are not quite right

will
require corrections, but
the experienced artist will try

to
add new layers
when
strictly
of paint only
necessary.
watercolor
overworking the
In the case of
painting, not
painted areas
we want
to
is
essential
if
preserve the trans-
MORE INFORMATION
Middle ground, general plane
ferences between planes) p. 32
River and
landscape painting, the

which the work is con-
in
(dif-
pond vegetation p. 64
how the
artist
Watercolor is one of the

most luminous of pictorial
techniques. White is never
used in this medium because
it is provided by the white of
the paper. The transparency
of the medium provides luminosity through subsequent applications of color, while
interprets the subject. Allow-
tones are being created
ing certain carefully chosen
same
show
through gives strength and
background colors
A clear example
to
of how the
background "breathes" through

the subsequent layers.
new
at the
time.
One
basic technique
work on
is to
dampened paper
which forces the color areas to

blend together, thus creating
imprecise combinations of
blended colors. For a more
precise technique, working on
a dry surface is recommendCombining both teched.
niques
is
ideal for painting
landscapes, as a
dampened
background is ideal for skies,

while a dry background is better for painting details.
A watercolor painting that shows

the qualities of the
medium:
and
luminosity, transparency,
chromaticism.
THE MEDIUM
DIFFERENT TECHNIQUES FOR

PAINTING TREES
Standing out against the horizon hne, creating planes, and adorning mountains, trees are
an essential component of landscape painting.

Pencil, ink, oils, acryhcs,
painting.
and pastels are the most common materials used
Each contributes
its
particular quahties
and potential
for
landscape
to depict, as far as
possible, the characteristics of the subject.
Using a Pencil
The
resent two entirely distinct

ways of working.
A good approach of the subject can be developed using a
nib and varying the intensity of
the dark areas by way of tightly
drawn hatched (crossed) lines.
The closer the hatched lines
different gradations ob-
tainable with a lead pencil
lend fluency and spontaneity

to the subject.
When drawing trees, the

range of grays used is equivalent to the tonal range of colors.
The first step when using
any medium is to compose the
subject. This
is
usually
done
in
pencil or charcoal. The main
summarize the overall

layout that is to be developed,
alternating gradated grays and
lines
hnes
Detail of a landscape
drawn
are together, the darker the
in pencil.
area will become. Texture
manner in which light and

shadows are handled in the
ferent cominations of lines.
leafy areas. This difference
watercolor technique sometimes characterized by brush
the
an important factor
is
in high-
lighting textural identities.
ferent textures of the subject.

light
apphed
to the bark, the
and shadows are
India ink
is
used
dif-
in a diluted
application of light and dark
washes,
outhne the forms. After the preliminary drawing,
The way
is
created by the use of
that
the major lines are further emphasized and the elements

given more defined structure.
Once the form has been fully defined, the volume is created by the gradation of grays,
thus alternating light and shadow, and bringing out the dif-
many
limbs should be different from
or
is
used
at
full
strength to obtain sohd black
Ink
India ink can
areas.
be used alone
or diluted, producing two to-
Watercolors
tally different effects.

It
can be applied with a
brush or pen nib. The lines left
by these are different and rep-
Watercolor is one of the

most delicate techniques, as
the artist is always dependent
Detail of a landscape with ink
.vashes.
pro-
truding roots, and the largest
Different lines produced with

different pencils or solid leads.
Different types of India ink
and
nibs available on the market.
Details
and Spontaneity in Painting

Evaluating Planes in Pastels
upon the underlying
When painting a tree

colors,
colors.
Pastels
in water-
the initial design
is
Pastels are an
opaque medi-
essential to prevent any back-
um and so are perfect for work-
ground colors from interfering
ing light over dark. As a dry
with the space reserved for
medium,
it.
Trees are seldom formed by

solid
volumes and
possible to see
it
is
much
often
of the
background colors through the

Watercolor can be applied
on a wet or dry surface. On a
totally dry surface, the brush
can draw precise lines without
them becoming distorted. So
when painting
a tree against a
colored background,
necessary
to
to
it
is
wait for the paint
dry before adding branches
The foliage
of the tree can be painted on a
and other
ing.
it is similar to drawBecause of the wide range
of colors available in a set of
any mixing
pastels,
ors
is
of the col-
unnecessary.
The layout can be done
branches.
light
details.
with a light-colored pastel,

even over a surface that has
already been painted. The

color applied last replaces all
of the underlying colors. The
reason for avoiding any mixing of colors is to maintain the
spontaneity of direct apphcation of the colors
ble
by
this
made
possi-
medium.
dampened surface.
Acrylics
Acrylics are a quick and effective
medium
painting.
Its fast
landscape
drying ability
Rendering a tree with

be done directly
with the paint
to the artist.
be almost immediately ap-
parent effects like those of watercolors or dense,
Increase of contrast and
in acrylics.
and permanence make this

polymerized resin one of the
most versatile tools available
Acrylics can produce transInk gouache.
Different stages in painting a tree
for
colors
hke
opaque
acrylics can
plied.
reinforcement of shadows.
and, as
it
The colors originally ap-
plied to the canvas will not

interfere with the
Despite
oils.
itself,
dries quickly, other colors can
its
new layer.
rapid drying,
acryhc can be used in much

Seeing these
trees,
it
is
obvious
why many consider pastels

halfway between drawing and
painting.
same way as oils when it

comes to mixing and blending
colors. The difference is that
the
this
medium uses water
as a
solvent.
Medieval Synthesis
Medieval
painting
ap-
pears naive and simple,
although works such as
one reveal the synwith which the

trees in the background
have been painted. In
this
thesis
Burial
Christ
The
of
tempera paint (pigment and egg) to
paint the tree-tops with dark tones that stand out against the
(1333),
Simone
Martini uses
reddish background.
MORE INFORMATION
Trees in the landscape p. 50
Drawing trees in the landscape:

branches and leaves p. 52
THE MEDIUM
EVALUATING PLANES IN PASTELS

Pastel
is
pure pigment with glue as a binding agent. This
drawing and painting as
far as
technique
is
concerned.
is
It is,
why it
stands halfway between
however, an important pictorial
medium when considering its plastic results.

Landscapes
the
artist to
in pastels are
rewarding
in that
no time
is
required for drying, thus allowing
apply additional colors immediately. Pastel requires no mixing on the paper;

only gentle blending with a paper stump.
A Fast Technique
Speed and brilhance are
the chief advantages of pastel
painting. The approach for a
landscape
same
the
in pastel colors is
as for
any other
technique: beginning with an
sketch or layout. As
initial
pastel contains chalk,
it
is
The fingers are the best tool for

working with pastel.
completely opaque medium

and can therefore be used on
any colored paper, even if it
is
dark.
Pastel allows you to
Roughing-out can be done

in any color as it will be totally
concealed by the subsequent
layers of pastel. Pastel colors
can be apphed directly, either

using the edge with the stick
laid flat on the paper, or with
the
Building up the
Painting
Although
is
it
Evaluating the
Background
possible to
paint directly with pastel col-
tip.
ors, the potential for superimposing different layers and

planes leads us to an entirely
different pictorial approach.
Once
the landscape has
laid out, the artist
planes while delaying the de-
The opacity of
Example of pastel application

canvas:
A.
to paint
one color
over another
the foreground.
stance,
if
there
is
a thicket in the
middle ground and some houses situated behind it, the houses
should be painted first and then
the thicket, at the
same time
al-
lowing the more distant planes

to
show through.
Different sticks
and
pieces of pastel.
Paper
The opacity of pastel allows

you to paint light over dark;
therefore, a wide variety of paper colors can be utilized in this
medium. The color of the paper
becomes one more color in the
B.
As pastel
colors are a dry and opaque
medium, such detail can be left
until the last moment. For in-
tails in
of the
been
can apply the
colors of the most important
pastel allows you
superimpose
opaque planes, allowing the

background to show through.
rubbed pastel.
rubbed into the pores of the
paper.
C.
rubbed and stumped.
D. linear markings.
to

Watercolors and the Landscape
If! iP
It II
llllli
III!
Warm range on a warm
background. The background
Cool range on a cool background.

Note how the background
color is as important as the color of

the painting
The Density of Pastel
contributes to the tones.
itself.
In this
composition of the landscape
and can therefore be used as

chromatic base for the
a painting with three planes
their colors. Pastel
For making quick sketches
theme, allowing the color of the
paper
to
been ap-
of landscapes, pastel is
medium
com-
plementary color when painting
mountains, valleys, thickets,
a landscape in cool colors.
etc., is to lay
phed subsequently. In this way,

a range of colors complementary to the color of the paper
lends vibrancy to the entire
composition. For example, red
or orange paper acts as a
al
flat
the pastel stick
on the paper. This tech-
Foreground
We have seen how the color

of the
paper can play an im-
portant part in the chromati-
one to concentrate on the color

and the composition.
the
apphed
plied
colors. Pastel ap-
lightly
to
the
der to
can act as a base for superimposing planes without losing

any of the original spontaneity.
In order to protect the initial
colors, a layer of pastel fixative
should be apphed to them.

Building up a painting be-
underpainting on the canvas and

continues with the development of the most important elements. The foreground as
well as the middle ground contain such important details as
branches, grass,
initial
ideal
in
this
case
has preferred to
use of colors
let
paper to
an
is
superimposing
re-
in or-
the color of the
show
through.
Great care should be taken

keep the pastels clean. After
each use, rub the pastel on a
piece of cloth to remove any
to
remains of other colors.
This sequence of images illustrates
how, beginning with an unfocussed
image of the subject,
the
masses of
color are synthesized.
The sticks of pastel should be

to remove
cleaned after every use
other colors.
sky,
mountains, and open spaces
gins with the
artist
strict his
cism of the painting. In the

same way, the initial painting
of the background can also
show through the subsequently
for
colors, although
that requires
nique avoids detail and allows
From General Plane to
mediunn
an ide-
no
particular preparation. Being
an instant medium, it can be
used without the consideration
of drying time. One of the
quickest ways of covering
large surfaces such as the sky,
the colors that have
in
that are clearly defined by
the
reverberate through
landscape, painted
1912, Paul Seusier presents
Pastel as a Technique for

Rapid Painting
How to Store Your

Paintings
Contrary
pastel
if
is
to its
appearance,
a very stable
medium
when a
treated carefully; so
work
is
finished, either in the
studio or outdoors,
it
should be
stored in a folder separated by

sheets of wax paper or vellum.
No
fixative
should be applied
to the final surface as
tends
it
turn the pigments dull
to
and life-
less.
etc.
MORE INFORMATION
Rural
buildings,
distant
planes
p. 56
Different planes
and depth p. 76
THE MEDIUM
WATERCOLORS AND THE LANDSCAPE

One
of the pictorial
mediums most
suited to landscape painting due to
and chromatic potential
From Diirer down
to the
present day,
challenge because of its
this
This
is
painting, watercolor
its
immediacy
watercolor.
medium has been adapted to every pictorial
and transparent
flexibility
considered "true" painting
As regards landscape
is
is
brilliance.
It
was
not,
however,
until the last century.
invaluable for making prehminary sketches.
not an easy technique, in that the transparent nature of the
medium
tends to
reveal every underlying stroke of paint, including the mistakes.
However,
it
is
undoubtedly one
Basic paintbox for the
most beautiful pictorial mediums ever developed.
of the
A Spontaneous yet
Complex Medium
Materials
watercolohst.
Certain basic materials are
necessary
for painting in
wa-
tercolors: watercolor paints (in
tubs, tubes, or
hquid form),
paper, a work surface, Scotch'
for the water, and a

sponge and dampen-
bound into a substance that becomes hardened if the water

evaporates. It can be used later
by adding water; the amount of
water added will vary depend-
ing paper.
ing on the density required.
tape and thumbtacks, watercolor brushes, a jar
Other materials include

glycerine (a few drops in the
down the drywax for resisting paint
watercolor slows
ing time),
Glycerine for slowing
the drying process, alcohol
for accelerating
it.
in certain areas (areas

in
wax
The medium of watercolor is,

and gum arabic.
This pigment is dissolved and
of course, water
covered
paper
will protect the
Watercolors
niques, can achieve a variety

of effects.
The transparent nature

this
few
one
effects),
salt
(a
almost
and can be
applied on wet or on dry surfaces, or, by using both tech-
from watercolor paints), a knife

or other pointed object (for
scratching the paper to create
different
are
totally transparent
medium reveals
all
derlying layers of paint.

of the
on the wet surface creates

effect) and a hair dryer
to speed up the drying process.
grains
a mottled
of
the unIt
is
few techniques in
which correction
is
impossible.
A complete paintbox for

outdoor work.
Plywood
board
A suitable
box
Tray for brushes
and tubed paints
Collapsible n\etal
stool
Collapsible
tripod- type
easel
Charles Reid, Toulouse-Lautrec.

For the first modern painters,
watercolor was the quickest and most
direct
medium.
Artists
would
constantly venture out of portable
studios with their light equipment to

take notes directly from nature.

Acrylics
and the Landscape

A cautionary note: avoid ruin-
Turner and the
ing a painting opportunity just
Landscape
because a small but critical

element, such as tape or water, was not included in your
Turner produced this
grove of trees with a
watercolor
use
of
allowing
for
restrained
color,
maximal use
of the
kit.
Painting on Dry Paper
white of the paper,

while at the
same
time employing the
method
dry
in
cer-
If
the
paper
is
allowed
dry after being taped down,

will
become
taut as
it
to
it
contracts
with the evaporation of water.
tain areas.
Watercolor can then be applied with far more accuracy

than on a dampened surface.
The dry technique also gives
Landscapes are particularly
Wet Paper
Painting on
suited to this technique, as both
allow
much
and the drawing
Painting on a surface wetted
with a brush or sponge allows
than in a portrait or
still
hfe.
Painting a landscape on
wet paper.
more
control of
and texture.
Combining a wet technique
for the sky and a drier technique for the trees and foreground can produce an
fine detail
greater flexibility
the composition
the artist far
paint to expand and

spread over the entire area.
The water should not be allowed to form puddles; the paper is porous enough to
absorb the necessary amount
the
exciting result.
of water.
Drawing
is
basic to water-
color painting, and should
be
done before wetting the paper. Once it is wet and attached to a rigid backing with
waterproof scotch tape
After the underpainting
brushwork
dries, careful
is possible.
either wait for
can begin
mediately.
to
it
to
we can
we
dry or
apply colors im-
When
Frottage is carried out

on a dry surface, using a
very small quantity ofpaint
on the brush.
painting in
watercolor on a wet surface,

the paint will begin to spread,
one color into another. This

can be controlled with a dry
sponge or blotting paper.
Finished landscape. Both

techniques, watercolor on wet
paper and watercolor on dry
paper, have been used.
A cloud produced by dry-brushing

the color from the wet paper.
MORE INFORMATION
Different techniques for painting
trees p. 12
How to open
up whites;
a dry brush applied to
the wet
background
absorbs the color.
Types of brushstrokes: applying

paint p. 42
Animals in a landscape p. 46
THE MEDIUM
ACRYLICS AND THE LANDSCAPE

Acrylic paint
Acryhc paint
is
is
the most important technical
comprised
of water
development
and polymerized
resin,
in
contemporary visual
and
is
art.
soluble in water and
requires no other solvent.

Acrylic paint appears almost identical to
immediately.
combined with
oil paint,
the difference being that
dries almost
it
We can therefore paint with a medium that combines the richness of oil
the
speed
of drying of watercolor.
It
depending on the wishes
can have either a matte or gloss

of the
finish
artist.
Acrylic resin
minous
and pigments
for producing
the
We can achieve
color.
same
effects
with
medium as we can with
this
oils or
acrylic paint.
watercolors by simply varying

the proportion of water.
Being a water-based paint,

it on paper as well
as canvas. Its resinous base
allows us to paint on any nongreasy surface. These properties mean that we can use
acrylics for almost any kind of
we can use
landscape.
What Is Acrylic Resin?

Acrylic paint
is
composed
versatile.
One
with which
it
ond is
its
solubility in water.
merized (synthetic) resin and

its density depends on
stirring
the proportion of water added.
However,
can have a translucent or

milky appearance when applied mixed with much water
in repeated coats.
The range of colors acrylics
advisable to
is
as
wide as
that of
at
made
home by simply mixing and
water;
offers us
the speed
and the sec-
Acrylic paint can be
basically of particles of poly-
It
is
dries
and pigment.
most artists it is
buy it in tubes
resin
for
A painting can be quickly

roughed-out with acrylics and
then continued in oil, after the
acrylic has dried.
Large surfaces such as the

mountains, and back-
sky,
grounds may be quickly painted with wide brushes, and

may be refined and blended
while the paint
is
drying.
like oil paints.
A Good Technique for

Landscapes
oils.
Acrylic paints dry very quick-
There are two characteristics that
make
this
medium
so
ly,
maintaining a stable and
lu-
Acrylic
paint
tubes.
Acrylic allows you to

paint light over dark,
as
it
tree can
is totally
opaque.
be painted by first
brushing- in that
part of the
background containing
the darkest colors.

Acrylics
Oils
and the Landscape

and the Landscape
tures with a palette knife with-
After laying out the forms in

a landscape with thin paint, the
impasto technique can be ap-
%':^c..
Theme
to the
Acrylic paints
ble to
or brush often creating tex-
very rapidly.
tures that correspond to such
painting
actual
in
subjects
the
alia
make
complete
plied with either palette knife
elements
Medium
Applying the
out future danger of cracking.
is
It
it
possi-
picture
ideal for
landscapes
using
prima technique.
The detailed work can be

done next, unhurriedly but
with sufficient speed so as
such as rocks and trees.
to allow for color blending
The Palette and Color

Olive green
is
while the paint
is still
drying.
used as a foundation
for brighter colors.
The
range
acrylic painting
that of oils,
tones
may
of
is
colors
as
wide
in
as
although certain
fade slightly
dry, a factor to consider
when
when
placing certain colors in relation to others. This
drawback
MORE INFORMATION
The application of paint can be

liquid
and
trees p. 12
transparent. Acrylic
paint dries very quickly, allowing
successive layers of color to
be
in:imediately applied.
Stressing the relationship of

colors, a
to that
chromatism similar
of oils can
be
achieved.
Disadvantages
Acrylic paint's great advan-
tage sometimes
becomes
a
Out-of-the-tube acrylic
disadvantage, as the weather

time.
in
When painting outdoors
on a hot day, the paint will dry

very rapidly, even while still
on the palette. To prevent this,
only the amount of paint
be worked
much the same
way as oil.
paint can
has a great effect on drying
the stability of the

colors.
be
apphed should be placed on
palette
the palette.
out
to
Mixing
they
will
to
become
dry
out,
useless.
paint,
water
is
the paint is
still
tion
fresh.
to the quality of the
resin used in the paint
and the
purity of the pigment.
(appUcation of thick paint)

also possible with acryhc.
flexible nature of the
and the
mind
can be due
As with oil, impasto painting

is
The
medium
allows the creation of heavy tex-
both
for the
direct application
of the color, always bearing in
necessary.
Textured Work
the
carried
chromatic evalua-
Color blending is possible while
Therefore, frequent immersion

in
on
in much the
same way as in oil
The brushes must also be

carefully cared for, because if
they are allowed
is
Generally speaking, darkening of colors as they dry

occurs more often in pure
colors, such as cobalts. This
is why it is advisable to use
top quality brands to ensure
that slight variations in
tone that
may
arise
when dry.
sz
THE MEDIUM
OILS AND THE LANDSCAPE

The "queen
of techniques," oils, has
come down to
us from the time
it
was introduced into
Italy
from Flanders during the Renaissance.

a unique technique, dries slowly,
is
It
and remains stable over
time.
It
offers
an almost
number of textures and hues, which explains why most painters use it for landscape
paintmg. One of the main features of this medium is the opportunity to make changes
during a long drying time. For this reason, oil is the perfect medium for those who approach
their work with uncertainty..
infinite
Palette
Paintbox
material.
Palette
and brushes.
differentiate
tailed
planes,
work such
or
de-
as flowers
and other delicate elements
in
the landscape.
Maulsticks allow steady brushstrokes.
Palette knives
and maulstick.
A Traditional Technique
Oil
torial
is
known pic-
the earhest
technique after tempera
and
fresco,
that
one
of
and
it
its first
is
beheved
uses was in
landscape painting.
Throughout
its
history, oil
paint has served every

the visual
artist.
This
larly true for the
is
need
of
particu-
landscape
painter.
Oil paint is
comprised of oil
(walnut or linseed) and turpentine in equal proportion, plus
pigment. Pure turpentine
is
used as a solvent.
Oil can produce gentle gradations of luminous colors for
painting skies; abrupt tonal
separations on the horizon to
also
Acrylics and the Landscape

Oils
and the Landscape
Alternating Techniques
Chromatic Potential
artist's
perception
is
able to
an unrivaled techthe pictorial medium that best represents the

most subtle tonal variations of
a single color. If we observe a
tree we can see the numerous
colors that envelop it, and oil
can reproduce these if the
Oil
nique.
low, blue,
monic set of colors.

The primary colors
we can
mixed
Using just three colors (yeland red) plus white
is
It
is
or neutral), the resulting tonal

variations will belong to a har-
capture them.
ture.
If
proach
paint any color in na-
to
are
obtain the secon-
a certain chromatic ap-
daries (yellow and blue pro-
warm.
duce green, yellow and red

produce orange, blue and red
produce violet).
is
chosen
(cool,
With three colors plus white,
any chromatic range can be

developed.
Surfaces for Oil
You can paint with
oil on virany kind of surface, provided it has been primed with
tually
a sealer (glue, varnish, or plas-
For painting landscapes
tic).
outdoors,
it
is
always advis-
able to have a rigid surface,
such as cardboard, canvascovered cardboard, plywood,

masonite, although we
should always consider using
or
stretched canvas, especially

small or
if
medium in size.
Virtues of Oil
Being a dense, luminous,
and opaque medium,

makes it possible to make
oil
cor-
rections during the course of

the painting
and even
after
it
is
finished. This enables the artist
add or remove elements

from the landscape, or change
colors and forms.
Landscape painting in oil often requires correcting. The
to
position of a tree
may not be
may con-
quite right, bushes
ceal part of a plane and
need
removing, and so on.

Religious Scenes
Oil
is
the ideal
medium
for
beginners, as changes can be

The Church was the patron
tury. Artists often
almost the eighteenth cen-
of art until
religious subject.
This
oil
painting, created by Carpaccio
in
1520,
technical possibilities offered by this nnediunn.
dations and plastic potential of

tations of nature.
made
as often as necessary.
introduced landscapes, or even nudes, into the
oils let
is
a sannple of the
The chronnatic
gra-
us achieve unique represen-
For the landscape painter, the

work must be easy to carry.
This handle separates the
paintings in order
to
carry them.
MORE INFORMATION
Alternating techiuques p. 22
The
fast sketch:
p. 24
outdoor equipment
THE MEDIUM
ALTERNATING TECHNIQUES
There
is
an important caution
is
no
in painting: "Paint fat
over lean." Following
limit to the creative possibihties in interpreting a
Experimenting with various techniques
this rule
there
landscape.
will often result in surprising effects that will
enhance your painting.
Acrylic paint dries
Alternating Acrylic
and Oil
quickly.
When acrylic paint dries, its

surface
is flat,
i.e.,
non-oily,
and therefore can accommodate
Acrylic paint can
oil paint.
If,
in a
landscape, the
used through
first
all
be
stages
of the work.
application of paint
is
not giv-
en an opportunity to dry, it
will tend to mix with subsequent coats of paint, giving
an unwanted muddy look to
the colors. This problem can
be overcome by doing the
initial work, and even some
of the more advanced work,
in acrylic paint. The painting
will dry much faster and can
then be completed using oil
colors.
Although doing the
work
initial
in acrylic is similar to
working
in oils, acrylic offers a
number
of creative opportuni-
while in the drying stages,

such as smearing and the use
ties
of frottage.
Quick Beginning and

Slow Completion
Working methods that
in-
volve the use of different
techniques require a conscientious and thoughtful approach. The beginning stages

of painting, involving
sition
usually
done
the
artist
er,
rapidly. Howevmust be careful
not to involve too

tail,
in
key to
The
finish
and final
of the painting can
undertaken once
base has dried.
details
be
the acrylic
compo-
and color scheme, are
much
that simplicity
pictorial
power.
is
de-
the
Oils
r^^^R^^^m
and the Landscape
The Fast Sketch: Outdoor Equipment
Working in the Studio

Landscape painting should
not be confined to working
work can be
rewarding as when
outdoors. Studio
as
just
working
in the countryside, in
many
experimental
processes cannot be accomthat
plished outdoors.
A photograph
can be used
in the studio for preliminary
may be
work, sketching
ried
out,
and,
of
car-
course,
whatever comes from the

imagination. There are infinite possibilities, from en-
sible), scissors, a knife, differ-
larging with a photocopier to
ent kinds of paper, plus pho-
work
tographs, etc.
in collage, plus experi-
menting with
all
sorts of tech-
niques.
Beginning with a single
col-
or sketch of a landscape, variations

sizes
ods
on the techniques and
can be worked on, meth-
that are difficuh to
attempt
outdoors. In addition, the in-
door studio provides one's

store of art materials, running
water, and hght at night.
Photographs and graphic
studio.
The planes
are the
first to
be applied,
maining planes
superimposed.
producing a collage.
Many techniques can be

used when starting with the
subject of a landscape. If you
are going to create a collage,
a rigid support such as cardboard or wood is advisable.
Also necessary are glue
(white carpenter's glue
if
pos-
MORE INFORMATION
Acrylics
and the landscape
p. 18
An
initial
layout must
always be used.
us-
ing glue and a brush. The reare
Cutouts from magazines and

colored paper are useful for
Combining
tools
in the distance
highlight certain forms.
Techniques
and
for creating a collage.
sure about the composition.
then
Once the collage is in place,

you may want to add paint to
lend unity to the work or to
materials. Useful for
working in the
Designing and drawing a

landscape is above all a work
of synthesis, the pieces of paper being arranged on top of
the support. They should not
be glued down until you are
Different materials
You can photocopy your

own work and apply it
as a variation.
AND
ACCESSORIES
THE FAST SKETCH:

OUTDOOR EQUIPMENT
One
most
of the
common ways of learning how to paint landscapes is to go
paint spontaneous color sketches of the subject
The sketch
is
an exercise in capturing the subject you have
on the
out
and
site.
in front of you, a task that
requires constant practice in order to obtain a variety of interesting results.
Drawing, scale, composition, and color are but a few of the factors
that
must be
considered when doing a sketch.

Since
artists
require very httle equipment for sketching, they can go practically
anywhere
The Easel
Materials: Watercolors,
Ink, Oils, and Pastels
Outdoor
must be
to use.
painting
light, sturdy,
easels
and easy
An outing in the
country
can be torturous if you go

loaded down with equipment
that is
an
more
aid.
of a nuisance than
Therefore
it
is
essential
choose a suitable easel. The

paper pad should be of the
type that can be used both for
drawing and for watercolor
painting. A piece of masonite
or plywood will do as a supto
port.
is
fold-up metallic easel
most versatile
painting as
to sketch.
it
is
outdoor
small and light.
for
One
doesn't require
equipment
much
for painting fast
sketches. Take along only

what you really need.
For watercolor it is essential to have paper to paint on;
is a wide variety to
choose from. Fine and rough
surface paper can be bought
there
in sheets or pads.
Fine surface paper brings

out the transparency but does
not allow too

ration.
are
much
color satu-
Watercolor brushes
made
of a variety of deli-
cate fine hairs, the best of
which are made of sable. The

most convenient way of protecting your brushes during
transportation is to roll them
Pads of drawing paper
and watercolor paper.
Different types of
hand-n]ade paper.
A box-easel.

essential
when working
with
watercolor or ink.
Pastels.
Dry techniques,
such as drawing and pastel

painting require little equipment. Drawing paper, a piece
of cardboard to use as suppencils or pastels,
port,
hard and a
soft eraser,
and
a
a
small knife should suffice.
A complete
up
in
paints
watercolor kit.
come
in a variety of dif-
ferent packaging. There are
several
Make up your mind

from the start. Are you
walking to the painting site
and must therefore carry as
cardboard. Watercolor
specially
designed
paint boxes for painting out-
door sketches
that include a
Ink. If you want to paint

your sketches in ink, you can
do so on watercolor paper, although it is better to work on a
kit
as possible, or are
you driving and can afford a

full
box-easel? Regardless,
a list and check every
The Impressionist
Landscape
item before leaving.
Monet, together with
Drawing Pads and
sold in bottles and, since ink
is
a water
medium, you will
quire a container of
it
and
some
re-
sort
Ca nvas
ed
be with
brush or a pen
the brushes. Ink can
applied with a
nnost
of
his
pictures
out-of-doors, striving to cap-
The artist may choose from

wide variety of drawing
pads and sheets of different
ture the colors and light of
the
moment,
Until
Impressionism,
painters
worked
Different accessories required
studio.
This
in oil painting.
habit
cleaning
for
his Im-
pressionist colleagues, paint-
surface. India ink
is
for diluting
basic a
make
water container.
more glossy
Oils.
right
solely
many
in
the
new working
brought about new,
lighter easels.
Reed pens are especially

good for obtaining large, lan-
nib.
guid strokes. Paper towels,

cotton cloths, and sponges are
tion with
painted notes for
future paintings. So always re-
member to
take a few pictures
of the subject
used
in
your
sketches.
India ink
is
available in
different containei
qualities.
Sizes range from
large
pocket-sized ver-.
to
being ideal
on excursions.
With regards to working
surfaces, you should choose
sizes that are easy to carry
around. Some brands of canvas board fit into standard-size
sions, the latter
for taking
Reed pens
for use
with ink.
Painting outdoors
thrilling
paint boxes.
if
The C amera
The camera
Various useful accessories

for watercolor
and
ink.
is
always a
experience, especially
you are well-equipped.
MORE INFORMATION
Watercolors and the landscape
extremely
useful
for
the
landscape
painter, who can use it to take
photographs of the subject and
is
then use the photos in conjunc-
p. 16
Acrylics and the landscape p. 18

Oils
and the landscape
p. 20
Alternating techniques p. 22
AND
ACCESSORIES
WORKING IN THE STUDIO

The landscape need not be painted solely
the studio with the notes
in the countryside. Artists
and photographs they have taken
can also work
in
of the subject. Furthermore,
they can revert to photographs in magazines and even postcards.

In addition to the necessity for
good organization both in terms of materials and ideas,

meet a number of basic requirements.
the studio must
The Use of Photographs

and Sketches
The landscape
artist
usually
has a collection of books and
photographs
ferred to
new
that
can be re-
when searching
for
The photographs
and notes taken on outings can
provide one with interesting
ideas.
starting points.
It
ject
useful to position the sub-
is
near the painting, prefer-
ably on the same plane and

with a uniform lighting source.
A photograph provides only a

view of the subject, for
which reason it is advisable that
you take several snapshots of the
partial
subject from different angles.
Good lighting is one
of
most essential
requisites for working
the
in the studio.
Illumination
Photographs and notes

are of invaluable aid for
most
important elements in any studio. The painter's workplace
requires at least three main
Lighting
is
one
of the
light sources.
A window that
Hght
lets in
to illuminate the
day-
working
surface and the subject, thus
allowing the
artist to
compare
the two to ensure that the chro-
maticism
is
correct.
An overhead lamp, used
remove unwanted shadows.

A goose-necked lamp
tached
to the
the subject.
to
at-
easel for Ughting
the
artist.

Landscape Composition
Basic Equipment
and Furniture
Working
in the
Studio
You will need some basic furniture in order to
make your
work in the studio comfortable

and pleasant. Your easel has to
be sturdy and stable. A work
surface can be improvised with
two saw horses and a firm sheet
of plywood for drawing and examining photographs. The
light-
be strong and white,

100-W daylight
preferably
ing should
bulbs or fluorescent
You don't need
for painting.
a large studio
well-organized
small and tidy space
is
ade-
quate.
Light
is
one
is
im-
of light-
from a source opposite
from
the
hand.
Materials
Your materials should be
kept clean and tidy so they are
fixtures.
any given moyou are working in different media, it is useful to

easy
to locate at
ment.
If
keep
the materials relating to
each separately.
Each medium requires a

different type of care.
ers or shelves to store pencils,
and other
Cleaning
working
artist's
The painting equipment and

accessories must be kept tidy
and within easy reach.
Finally, you will need several containers to keep your
brushes upright; also containpastels, paint,
An improvised work surface.
painter's
in a
The best type
studio.
ing
most
of the
portant factors
based mediums
tools.
Water-
like watercol-
tempera, or acrylics can be

cleaned under the tap; oil is
cleaned with turpentine and
then soap; dry mediums, like
or,
A sturdy
studio
pastels, are kept clean
easel.
by rub-
bing a dirty cloth over their

points.
Different water containers,

'
The correct
elements
iL^fvMX
ideal for cleaning brushes
and working
with watercolor.
distribution of
in a studio.
Other items might include a

collection of art books, a music
system, stools and chairs, a hot

plate for coffee, etc.
A cloth is essential for

painting in pastel.
Use of Outdoor
Equipment
Field sketches are used to
capture impressions from nature and put them to use in developing a future painting.
Draw
you
many sketches and

many photographs as
as
take as
can.
When
MOREmrORMATION
Different
it
comes
to
painting
a subject in the studio, the
should have as much

graphic material as pos-
artist
sible available.
techniques for painting
trees p. 12
Alternating techniques p. 22
The
fast sketch:
outdoor equipment
p. 24
The quick sketch

p. 34
in lead pencil
TECHNIQUE AND PRACTICE
LANDSCAPE COMPOSITION
Composition is essential
for painting
a landscape. To compose a picture
is to
anange the elements
within a determined space, a task that requires a careful study of the subject and a correctiy
proportioned representation of the elements on the canvas. There are a number of rules of
composition the
artist
should foUow when painting a landscape.
One refers to the golden section,
mathematical formula also used for structuring elements in architecture; another

of the masses,
which helps you
to
is
conectly anange the different "weights" within the picture.
The Golden Section

Curiously, this ancient theory
for
arranging the spaces in a
painting has
been employed
throughout the history of paint-
The search for a balance of

masses led the Roman architect
Linear development of the Golden
Vitruvius, during the
Section in a rectangle.
ing.
first
centu-
ry A.D., to the ideal division of
space
in a picture. This rule
was
applied to most of the paintings

of the Renaissance
and contin-
ues to be employed to this day.

The Golden Section can be defined thus: for a space to be divided into equal parts and to be
agreeable and esthetic between
the smallest and largest parts,
there must be the same relationship as between the larger part
and the whole. To find this ideal
proportion, you have to multiply
the width and length of the canvas by the factor 0.618, which
will give you the division of the
Golden Section, that is the point
in the picture that receives the
most
attention.
Application of the
Golden Section
The Color Masses

in a
Composition
A logical distribution of space

has
to
be balanced by the color
masses. Imagine for a

that
colors
moment
tributed
tion's
Sailing at
Temple
Museum, Taiwan).
possess physical
weight, and that this weight
would have
Wou U (1632-1718),
the Foot of a Buddhist

(Palace
to
be correctly
among
dis-
The Point of View
in the
Oriental Composition
the composi-
elements, in a
way that tiie
physical space they take up
complies with the law of gravity.

Therefore, the darkest colors
would be seen as being denser

and heavier than the lighter
was composed using an elevated
This landscape
viewpoint, a characteristic
of traditional
ing.
single
tance in perspective.
position
to
of
separated
are
that
ing,
paint-
landscape
two masses
would undergo a devaluation in

tone, due to the effects of dis-
rule.
Chinese
This type of composi-
tion divides the

into
ones. Likewise, the dark colors
line. In
space
by
Chinese paint-
the "ascending"
be
enables
achieved
comdepth
without
the need to resort to perspective.
C |E2
This
effect
is
obtained by using successive planes.
the balancing
Working
in the Studio
Adaptability
be decisive
The Balancing
of the Masses
Balance
by
is
in
an asymmetrical
landscape composition.
Types of Composition
not only achieved
the equilibrium of masses,
Independently of the subwe can choose whatever

type of composition we wish to
use. Every composition is dif-
but also, in the case of a mono-
chrome
ject,
by values.
picture,
Symmetry destroys movement

and force in the composition.
Tonal values also have a decisive role to play in balancing
ferent with respect to the dis-
the weights of a landscape.
tribution of the planes
A larger mass of color can be

compensated by another darker
and smaller one on the opposite
side of the picture. The landscape can be said to be balanced when the proportions
between the lines and masses of
color are harmonized together.
artist's
and the
viewpoint. Diagonal,
circular, triangular ... are just
few schemes
that the artist
can use as a guide.
Asymmetry contributes
to the dynamic values
of a landscape.
Asymmetry in the
Composition
In the
landscape composi-
tion there are several factors to
take into account
when choos-
ing a viewpoint from which to

paint.
The weight
is
Even in the
least realistic
landscape there is a tendency

to look for asymmetry. This en-
not correctly
distributed.
ables us to locate the other
compositional values, such as

the balance of the masses
and
the painting's center of interest.
Asymmetry
in a
composition
has a significant influence on

the
The weight of value masses

balances the composition.
Balance in a
Twentieth-Century
Landscape
dynamism
of the work,
which is the reason why elements skillfully distributed will

acquire more interest than one
in which the elements are distributed symmetrically. The
subject of perspective can also
m^
r
.^
Linear plane
correct distribution
of
masses
is
not
in-
'
^!]
connpatible with free-
dom
Bb
of expression. In
this picture
(/.a
by
J.
Miro
Mas/a, 1918-1922.
Ernest
lection,
Hemingway
New
position has
become
been reduced to
'
r^
SB
*!fed
îffi.Pi
Col-
York), there
flat
composition.
MORE INFORMATION
Adaptability p. 30
is
no perspective whatsoeve;. The
com
the center of interest. The elements havf3
jigsaw puzzle-type shapes.
The planes
in a painting p. 32
The horizon
view p. 38
line
and the point of
ADAPTABILITY
One
of the compositional aspects that
the
most
affects the
resuh of the painting
way in which the composition is framed within the dimensions
chosen a viewpoint,
obtain adaptability
we have
is to
to
decide what part of it
is
the adaptability,
of the canvas.
Having
we wish to include. The best way to
lay out the most important lines of the landscape, thus estabhshing the
exact center of attention. This involves dividing the canvas into different areas in a relationship
with the perspective as well as
The Division
of
all
the other compositional elements.
Space
The landscape's most imporhave to be located so

that the space is structured in a
balanced way, which then
tant lines
allows the
artist to distribute
the masses in a proportional
manner.
Of course, the
first
division
space can be rectified when

you apply the color, adding or
deleting the weights of the areas we have estabhshed in the
of
composition.
The structure of a landscape

framework and the lines
is its
that
explain
the
have
different
to
reduce the subject
to a
series of successive planes in
spaces establish the planes in
order
the picture.
to
express distance and
proximity; you will see
how
the foreground automatically
The Planes
separates
in a Picture
itself
from the more

is one
distance planes. This
A landscape is a three-dimensional theme that we have

to represent on a two-dimensional surface. Therefore,
we
method
An example
of the sensation of
depth obtained by means of

successive planes (Monet,
Effect of SnowJ.
for establishing the
dimension in painting.
The three-dimensional
ef-
fect is resolved, therefore,
by
third
means
of
which,
emphasized by the
different
planes,
lines of perspective, provide
us with depth.
Adaptability and
Pers pective
The adaptability
of the sub-
estabhshes the composiand the perspective

tion
provides it with depth. Perspective can be built up in two
ject
ways: making use of successive planes that establish variNote
how a single
landscape can be changed according
to the choice of planes.
ous
points
of
distance,
or
establishmg a point of conflu-
Adaptability
Middle Ground, General Plane

ence of lines around which the
attaching two right-angle strips
landscape can be constructed.
of
If
we choose a distant,
ed point
elevat-
black cardboard together
(see photo), which,
when posi-
of view, the lines of
tioned in front of the subject,
perspective will provide us with
can be adjusted to find the

most appropriate format for the
composition you are about to
we choose
convergence of hnes, we ob-
a wider view, while

a
tain a
if
nanower depth of field.
paint.
multitude of different
can be obtained
by widening and narrowing
the field of view and moving
closer or farther away from the
possibilities
Adaptability and
Composition
subject.
There are various useful de-
good adaptthem consists of
vices for ensuring

ability.
One
of
The "weight" of color greatly
The "Weight"
of Color
influences the composition.
Once we have chosen the

composition by framing the
we should turn
theme,
our
at-
tention to the proper arrange-
ment
of the masses.
In principle, the first lines

that
mark
destined
out the spaces are

to
enclose the col-
ored masses, which are established as the work progresses.

Bearing in mind that the
colors and tones possess their
own "weight," it is important
to search for a balance from
the very start, giving priority
(if it is
desired) to the compo-
sitional
values rather than
those seen in reality.
:r.Z.f'%^^^y:'ee^^>
Different compositions
can be obtained by
framing the subject using
two pieces of cardboard.
Adaptability
and Depth
Inthis
work by
{El
let
Mil-
Angelus,
we
1857-1859),
can see an excellent
example
framing
the
in
of
which
composition
balances the whole.
The
Different points of view
affect the connposition
and depth of field.
depth
heightened
IS
achieved
by the excellent place ment of the painting's elements. The point

of
view coincides wit T the horizon
line,
creating
between
it
the viewer an accentL ated perspective due to the depth of
MOREmrORMATION
and the elements,
wh ich
themselves. This effec t

Composition in the landscape p. 28
The planes in a painting p. 32
of the
most
is
create other planes of distance
and
field
among
further heightened by the blurred forms
distant ele ments.
MIDDLE GROUND, GENERAL PLANE

(DIFFERENCES BETWEEN PLANES)
We may interpret a landscape from different viewpoints. If we focus our attention
on the features nearest
other hand,
we
to us,
we can interpret
the plane in the foreground.
If,
on the
are interested in the different planes between the foreground
and the background, we acquire a space
in
depth
that contributes various
other planes.
The
Superimposing Planes
diiferent
The Location of Planes
planes
create depth.
By establishing the
ent planes in a subject,
it
is
possible to obtain an effect of
depth
in
a painting.
points in space
in a Painting
differ-
These
between the
to
distance because of the di-
minishing size of objects as

they occur on planes receding
into the
background.
If we begin with the

foreground (the object closest to us), we will have estab-
lished
the
first
area
of
Planes and Composition

The composition provides
structure
and weight within

plane.
together
our intuition, allow us

that a
more
with
to
see
distant object de-
creases in size in relation
to
closer objects.
A landscape
is
terrelated planes
a series of in-
composed
of
various objects. Objects locat-
ed
in the
foreground are key
terms of balance and the
now be
the painting with a balance of
picture
perspective,
such a way that the es-
related to the planes
themselves.
the background.
of
different
distribution of weights must
separation in relationship to
The most basic rules
tion in
in
between
them.
of
sential structure of the picture
observer and the landscape

indicate the distance
The location
planes influences the composi-
of a
first
refer-
landscape and
our location in front of it.
picture
plane can be understood in

two ways: it can be perceived
as a whole, that is, as a flat
surface occupied by various
colors, or as a composite of
different elements in a picture according to their location and weight within the
the
composition.
Foreground: the
ence point
Intermediate plane: shows
elements
in
depth and
A distant plane
tends
to
scatter the subjects.
The Adaptability
The Quick Sketch in Lead Pencil
establishes a link
foreground
between the
and
back-
the
ground.
Background: the place where
the horizon
cording
to
hne
is
BACKGROUND
situated ac-
our viewpoint.
closer plane increases
interest
and lets us play
with the composition.
Color helps
to
separate
the different planes.
whereas cooler tones become

predominant as the planes recede into the distance.
Chromaticism and
The Viewpoint
Distance
The viewpoint establishes
our height with respect
landscape.
The
to the
An elevated point
view provides us with a

specific view of the landscape, a more expansive one
of
in
spatial location
plays an important role in
height
the
of
lo-
The colors fade as the planes

recede into the background.
The farther away they are, the
more uniform they appear
thanks to the atmosphere's fil-
increases the depth, this being the most common situa-
The
of
cating the planes of a picture.
scape seen from a point of

view below the horizon line
tion.
and the rules
TheUseofWhiteina
Landscape
perspective; chromaticism also
case, while a land-
this
different planes are not
only distinguished by their
horizon line establishes the

depth of the picture.
tering effect. This effect
makes
The palette
is
an essential
tool in obtaining suitable colors.
landscape contains a
wide variety of hues that, if we

do not take the trouble to study
them, can escape our attention.
There
is
no such thing as a
single green in the country-
the distant colors of the land-
side or a specific earth color.
scape take on a bluish hue.
The climate, the shadows, and

the presence of other nearby
colors alter the hues of every-
Therefore, the foreground

contains
more warm
tones.
thing.
The greatest danger the

landscape painter has is to fall
into what is commonly known
in the trade as the
"gray trap."
In other words, the excessive
use of white mixed with other

colors,
which can reduce
their
brightness dramatically.
The Use of the Grid

This
shows
engraving
fifteenth-century
a
drawing technique em-
ployed during the Renaissance. This
system eases the job
of
working out
the proportions of the different ele-
ments
in
the picture, because
if
we
|
look through the grid with only

eye, the third dimension
is
one
reduced to
MORE INFORMATION
Composition in the landscape p. 28
The planes in a painting p. 32
THE QUICK SKETCH IN LEAD PENCIL

Drawing
the
is
medium that most closely reflects the
enables us
that
to
see the subject in
its
exact reality of the subject.
tones and indicating volumes with simple lines,
we can give
The quick sketch, therefore, simphfies the assessment
between the
step
artist's
imphed through
It
is
the intermediate
come. Color values
to
the various shades of the pencil.
geometric shapes and scales
The Motif
of gray.
It
is
essential to
ly clear
be absolute-
about what your idea
before you begin sketching
It
it
its
is
requires
much
practice
and perseverance to interpret

a landscape. The elements
that form the masses of the
landscape fade as they recede into the distance; the
farthest planes take on a
grayish blue tone, an effect
that can be obtained by
is
it.
The subject of your sketch

will depend on what you want
to focus on; a landscape can
be interesting for its location
or
drawing
the illusion of a third dimension.
of the subject.
understanding of the subject and the painting
of a subject are
It is
precise relationship to the picture. By emphasizing
composition. In any case,
best to do various draw-
ings so as to have a choice of
means
the best one.
grays. This tonal scale will
of
depend on
tonal
scale
of
the hardness of
the pencil you use.
The Evaluation
of the
Underpainting
The
All the
ject
Size of the Paper
elements of the sub-
can be reduced
to
basic
fast
sketch drawn from
nature can be done on practi-
any type of paper. Given the fact that you often

come across a landscape by
chance, you should always
carry pencil and paper wherever you go.
cally
This
is
drawing of a theme
that is then
turned into a
The best way
definitive painting.
to
see the
distribution of masses in
your
composition in synthesis is to
look at it through squinted eyes.
This
is
painting
based on
the sketch
Gradation of grays
pencils according
in
to
their different
degrees of hardness.
On the other hand, an inexpensive cardboard portfolio

can be used both as a support
and to keep your drawings
and notes
in.
shown
above.
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sR
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IHH
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Different types
and brands of paper.
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^^.s^^H

The Choice of Theme
your vision; in other circumstances your shadow can

interfere with the work on the
limit
The Perfect
Rendering of a
Landscape
To understand
rectly a
to prevent this
from happening make sure
you are sitting in the shade or
under a parasol.
paper. In order
cor-
landscape
you should understand the gradation

Guercino, Landscape with Volcano
British
Museum, London.
of grays. Watercol-
Fast and Productive
or as well as char-
Work
coal
mediums
sketching are appropnate

In this
painting
we
for tonal
can appreciate the
and
pencil
search and evaluation.
artist's skill
and knowledge of
technique by the fact that a few brushstrokes have
managed
to ex-
press perfectly the shape of the subject and the play of lights and
shadows. The insertion
of small
human
figures
in
the foreground
Make
a habit of
drawing
sketches of landscapes. Only

those artists
tered the
who have masdrawing and
art of
composition can obtain really
leads to a better understanding of distances and proportions.
satisfying results.
Sketches must be executed

with speed in order to capture
This form of expression is
fundamental in the creation of
any exciting drawing, since it
conveys your whole strength
and character.
Another technique used for
developing details consists of
stumping and blending with
your finger or, in the case the
detail is too small, with a paper
stump. Stumping is excellent
for combining lines with gray
the most important aspects in
few
lines. This is
only achieved
through continuous practice.
transitions.
It is
Taking Advantage of
always necessry
to control
the drawing.
theLijfht
Sketching from nature can
be
Drawing sketches from
a delightful experience un-
der optimal hghting conditions.
nature.
However,
A drawing case is useful for

carrying your accessories,
in-
sometimes
the
light reflected off the painting
surface can dazzle you and
cluding paper and such things
A good sketch
as watercolors, charcoal, etc.
must analyze the
subject in perfect synthesis for a

future painting.
Stumping and
Expression
The
expression
sketch will
your
of
depend on
the
spontaneity of the stroke.
drawing will appear spontaneous and alive if it is given

the right emphasis,
pencilwork
that
that involves
not only your
hand but
your wrist and forearm.
MORE INFORMATION
is,
using
trees p. 12
also
Each artist should have a

personalized way of working.
Animals in a landscape p. 46
THE CHOICE OF THEME

Each landscape has
to all others.
the theme.
its
own particular chromatic
The painter must use the
cool,
character that
summer would favor
From Foliage to
The theme you choose will always have a predominating color tendency. All objects absorb
all the colors in the spectrum ex-
There are as many types of

landscapes as there are ways
of interpreting them. Even a
single subject can provide the
artist with an almost hmitless
number of compositional
ideas and color themes. In
landscapes depicting forests
or arid lands the horizon becomes all important. Cool colors predominate in forested
landscapes while warmer colors are dominant in an arid
chmate.
The chromatic range also
depends on the season of the
year. A mountain landscape in
winter, for instance, does not
have the same chromatic tones
as in summer.
in relation
to
own color,
which is reflected back.

not only the object's
actual color that influences
its
appearance. The atmosphere's

filtering effect is also a factor
and the painter must bear this

mind when selecting a chro-
in
matic range to interpret
VJSSf
""
it.
"""^^^
of Innpres-
sionally
ventured out into the
countryside
to
artificial
chromaticism. The
artists of
the time often used
only one color range
the landscape
tended as
was
background
in the final result of the pic-
ture.
Warm
color ranges can
be used in the execution

a landscape with a cool
also
of
tendency.
to
Color synthesis enables us

understand the landscape
to its tonal
draw
a fast sketch to estabhsh
Color Synthesis
the subject's tonal values.
play a decisive role
reds,
I -xll/.
Mountains p. 20
and depth p. 76
to
which will then act as facemphasize the chro-
tors that
maticism. That
to say,
i'
is
The cool range of colors,

comprising green and blue,
can be perfectly combined
with warm earth colors and
is
distance in
landscape is
in an atmospheric blue.
a
pamted
Evaluating planes in pastels p. 14
evalua-
exercise
^''
MORE INFORMATION
in-
for a
portrait.
theme of the painting.
Mixing colors p. 8
when
only
From Blue to Yellow.
The pictorial treatment and chromatic

range must be harmonized with the
themselves.
in
the studio would take on an
A good
artist will
Atmosphere and color

define a landscape by
The
paint.
landscapes they painted
tion.
The palette chosen by the
^-^
advent
Until the
sionisnn, painters only occa-
according
The chromaticism of a work should
have a direct relationship with the
theme being painted.
Different planes
enhance
Unreal Color
Scrubland
cept one, the object's
is
unique
warm palette.
The Theme
and Color
it
it
A snow-covered landscape would favor a cool range of colors, while the scene
of a wheatfield in
But
makes
warm, and neutral chromatic ranges

The Choice of Theme
The Horizon Line and the Point of View
violet.
The range
colors
is
37
of neutral
obtained by apply-
ing two complementary colors
in
unequal
amounts
adjacent to one another.
Color synthesis helps

the artist to understand
the landscape through
tonal evaluation.
Range of warm
colors.
Range of cool
colors.
Evaluating Earth
Colors
IB
It
is
not to
you whether or
use earth colors. If you
up
to
do use them, they
will
play an
important role in your landscape.
Earth
are
colors
not
all
warm; some greens are ideal

for mixing with browns and
thus becoming particularly appropriate
an expanded
for
palette.
Earth colors are pigments of
mineral origin and are ob-
by grinding different
They comprise
a range of yellow ochre, raw
sienna, burnt sienna raw umber, and burnt umber. The
tained
soils together.
character of these colors can
be enhanced by adding green.

But
it
mind
is
important to bear in
that
muddy
green tones can
colors,
occasionally
destroying the desired chromaticism.
How to Choose
a Palette
Before you paint your landscape, you must decide on a
predominating color.
The artist normally starts
with the most basic colors,
from which he or she can develop a palette. The range of
warm
colors consists of yel-
low, orange,
and red. Cool

and
colors are green, blue,
THE HORIZON LINE AND

THE POINT OF VIEW
many ways
The landscape can be understood
in as
theme can include a sizable
on other occasions, the desired portion
small that
it
area;
include in
scheme
for a
it
to
see
it
can be represented. Sometimes
can barely include three or four trees and a
When artists set out to paint

to
as
a landscape, they must
how they relate
to
first
one another
in
of
landscape
this
so
is
tiny brook.
analyze the elements they wish
terms of color and distance.
landscape locates the different elements and planes of the subject through
the use of various types of perspective.
The Low Horizon Line.

The Relationship with
the Sky
The Background
Conditioned by
the Viewpoint
When viewing a landscape,

the spectator
at a
is
always situated
In a composition seen from

an elevated viewpoint, a high
The height
horizon line displays a large
certain height.
with respect
to the
plane es-
proportion of the landscape,
tabhshes both the distance and
A landscape
The
spectator has a specific space
before him, which will vary according to whether his view-
of the scene.
the
scale
point
is
to say,
of elements.
higher or lower. That

if
is
executed from
an elevated viewpoint enables
the artist to include a large part
whereas on the other hand, the

lower the horizon line and the
less depth the landscape has,
the
more important
The High Horizon Line
a piece of land con-
in the
taining two trees is seen from a

low viewpoint, they will appear almost joined together on
the horizon line directly in front

of the observer.
not
the plane, leaving the farthest
points are
area of the sky will
reduced
because
of the effect of distance; if, on
the otherhand, it is seen from a
tree
in size
higher viewpoint, the farthest

tree will not look as small, but
the
distance
between
will
seem greater.
The viewpoint
is
located on
The vanishing
where a series of
imaginary lines converge, and
in the
process determine the

and size of each object
made more
sky
tant
element
both
in
hshed
that
become
in-
on the picture's format. The
in the composition.
From an elevated viewpoint
prominent, the
creased, depending of course
location
vanishing points can be estab-
the ele-
foreground and
middle ground become.
If a landscape is painted
with a low horizon line and the
elements in the foreground are
ments
is,
of course, a
very impor-
in the painting
terms of the theme and
the composition.
meet on the horizon
hne, creating a wider view of

the landscape.
The relationship that exists

between the observer's viewpoint and the horizon line indicates the space represented in
the landscape, in which an elevated viewpoint provides a
more extensive view

A landscape by Cezanne painted
from eye
of the
landscape.
In a landscape
painted from a
level.
P^^
typical viewpoint
used for
painting a landscape.
there
is
less
The horizon
depth and the

elements in the
foreground and
middle ground
line loses
acquire more
depth.
importance.
Low viewpoint.
low viewpoint,
The Choice of Theme

Chromatic Evaluation and the Atmosphere
Perspective^
The Renaissance and

the Development of
Perspective
landscape is a three-dimensional subject reproduced

on a flat plane. For this reason,
the artist has to use rules of
perspective to represent the
derstood as
surface.
size.
of repre-
subject on a two-dinnensional
surface. This effect of depth
if
left
the observers of Renais-
sance
spellbound.
art
increased.
through the use of color
perspective,
to de-
we will have
scribe depth in the picture.
superimposition of planes, by
of
new way
senting a three-dimensional
There are many ways of creating a third dimension in

landscapes: by means of the
use
in
naissance provided painters
scheme of the real

perspective (3) and add colors
and shadows to it (4), the illu-
the
which the
The theory and practice
with a
is
in
of perspective during the Re-
effect that cre-
ates the illusion of depth. But
sion of volume
un-
were not reduced
objects
perimposed, an
was
a series of suc-
cessive planes
flat
The representation in the

first illustration (1) shows objects on a plane, without perspective; the second illustration
(2) shows the same objects su-
we draw
of the Gothic
Period, perspective
lusion of a three-dimensional
scene on a
end
Until the
il-
ment and
Vanishing Lines
In order to paint a land-
scape,
how to
it
is
important to
size of all
composition
in the
Gradual perspective.
created vanishing
along which the place-
lines,
or
elements
be de-
will
termined.
know
correctly situate the
dif-
Depth of Field
ferent elements of the picture.
By applying the basic rules
of
It
is
not always necessary to
perspective, you can draw the
use perspective
objects in accordance to their
third
distance firom the observer.
in fact, despite the usefulness
If
we
establish a vanishing
dimension
of the rules of perspective,
when we
draw
ten have to use our intuition
paint a picture
draw the
land line (LL) and mark out
several points on that line, and
when laying out
then run lines to those points,
effect that is
a line (HL), then
The depth
VP
at
we
of-
a scheme.
of field
is
a visual
produced when
a specific area in a
landscape. The center of attention
makes
the other areas ap-
pear less important, more

blurred or hazier. This effect
can be achieved through color, composition, or simply by
studying the subject and then
LL
The location on paper of the
and the land line (LL).
create the
point (VP) on the horizon and
you look
HL
to
in a painting;
horizori line (HL), the vanishing point (VP),
correctly locating the planes of

the picture.
Draw several equidistant
objects on the land line and then their

corresponding lines to the vanishing point. These will indicate the size
and form of the objects in depth.
HL
VP
MORE INFORMATION
Detail
and perspective
p. 54
CHROMATIC EVALUATION AND

THE SURROUNDING ATMOSPHERE
The colors you have chosen
development
in the
is
your landscape
to paint
from the type of palette used, the

of a landscape
artist
will greatly influence its
have weight and value
no such thing as an exact palette
outcome. Aside
should take into account that the colors employed
for the
in relationship to the
whole. There
general interpretation of a landscape. Even
begiiming with the most basic palette, the color relationship between the subject and
the painting can
be made
identical.
Color and Realism
reahstic chromaticism
is
which the observer's

eyes do not detect any distorthat in
tion with respect to the logic of
An example
and color.
The atmosphere filters the
light and therefore changes
contrast in a painting.
light
the color of the objects

reflecting.
used
that
are
achieve a realistic
to
painting.
The
valuist style, in
the painter
makes use
Colorist
Chromaticism
is
There are several
of painting
styles
it
of colorist
which
of local
colors and values to bring out

volumes. This type of landscape painting requires us to
carefully study the shadows
of the objects themselves and
the shadows that they in turn
cast.
The colorist method, in

which the artist does not see
the shadows as darker tones
A landscape can be interpreted from a colorist point of

view, that
is to
say, giving a
value to each tone generated
by the objects, both in the

shadows they receive and the
ones they
It
first
was
The best way to understand a

landscape as a series of values
of a single color is to look at a
black and white photograph.
cast.
the Impressionists
who
treated painting from a col-
orist point of view.
For the
first
time, painters not only concen-
on landscape but employed color for color's sake.

The colorist painter does not
view shadows as darker than
trated
other areas, but as colors themselves; therefore, objects are

differentiated from
by
one another
different color planes in-
stead of a differentiation based
on the shadows they

.
A landscape painted in
cast.
It
is
important
Monochromatic
because
Treatment of a
Landscape
learn
this will
how
to
in synthesis.
the
to
under-
stand landscape from a monochromatic point of view,
allow you to
evaluate colors
Economy on
the
palette helps the artist to un-
colorist style.
The painter has

of the local color, but colors
in their
of the
own right, frequently

same value as in the
lighter areas.
to
choose a
suitable chromatic scale to find
an
affinity
between the color of

and that of the sub-
the palette
ject.
derstand both color theory

and color synthesis.
MORE INFORMATION
Therefore, the landscape
can be interpreted as a series

of tonal
and value differences
of a single color.
Resolving the whole p. 44

Reflections
on the water
p. 68
^^^^^^^1

Chromatic Evaluation and the Atmosphere
Types of Brushstrokes: Applying Paint
Two
versions
of the
same
theme painted
with
warm
colors.
A Landscape with a
Warm Tendency
A warm palette
to paint a
can be used
landscape consisting
The palette of neutral colors

can tend toward the cool or
warm range depending on the
type of picture you are going
to paint. This is
done by
in-
paint a landscape domination
by cool
tones, the cool range
can also be used
of colors
conjunction
tones.
with
creasing the amount of tones
in the painting
by
ors cannot
belonging to each range

you want to employ.
colors can
be included. Cool
be used for toning
and neutralizing tones
that are
excessively intense. In
fact,
you should not exclude any

color, no matter which color
range
it
belongs
The warm range of colors

can be perfectly incorporated
with the cool colors.
er,
you should give
the former rather than the latter
you are painting
if
ture with a
elements
in
landscape
acquire a chromatic character
depending on their locaand the light they
tion
receive. Daylight gives the
landscape
its
chromatic
tones, which can be synthesized through different har-
monic ranges. The artist will

have to determine the predominant color in order to
begin the picture.
To obtain a neutral
quality,it
only necessary
combine
warm and cool
Cool Tendency
The use
to
colors.
of violet in
combina-
tion with khaki not only substi-
same way
warm
range of colors can be used
The same
theme painted
with cool
a pic-
warm cast.
The Harmony of Light

All
A Landscape with a
Howev-
priority to
can be created
the interspersing of both
ranges of color.
is
In the
to.
that
in
warm
A chromatic excitement
of
warm colors, but that does

not mean to say that cool col-
the
colors.
to
tutes for a cool palette,
enhances
its
chromaticism.
but
TYPES OF BRUSHSTROKES:
APPLYING PAINT
There are as many ways of interpreting a landscape as there are landscapes.
independently of the technique
that are useful in
main masses
you
utilized,
executing a landscape.
will find that there exists a
number
But,
of techniques
A specific technique may be required to paint the
of the composition, while another
may be needed to render intricate
want
to
cover the entire canvas
with masses,
the
details.
it
wide and
When we
brushes.
are concentrating
on building up
portance
best to utilize
is
flat
of
color, the im-
texture
put
is
aside. In certain cases, de-
pending on the medium we

are using, a wide brush is
better for carrying out this
procedure.
In
the
case
of
watercolor, however, the tech-
nique of covering the surface
must be done with more care

since
tally
Alternating between the areas with the brushstroke. The painted area can
acconnmodate more
detail
The Construction
Color Masses
by using a smaller size
interpret the different
planes of a landscape in a
number
first
of ways, but
we
should
concentrate on distribut-
ing the masses and leave the
work
til
of defining the details un-
later on.
Even though the

masses does
distribu-
used
to
or watercolor can
carry out a
a landscape.
first
fast,
be
step of
sponta-
neous work provides an excelbridge between the

lent
landscape and the painting.
Wash allows us to see the
areas from a monochromatic
their tonal variations within the
the perspective of the land-
influences the com-
whole while searching out the

balance of the composition's
by contributing
tonal weights.
scape,
it
position
to
the structure of the picture as

a whole.
The masses
of color will
define the different planes in

the
picture;
once
this
has
that
each subsequent
In any case,
step.
large
color
that
we
are
working on, moving with

broad strokes while not
flat
easily covers the area
tempting
to
at-
define anything oth-
er than the structure of the

painting.
point of view, thus establishing
not affect
tion of
medium
leaves the underlying apphca-
masses require a brush
Wash
We
are dealing with a to-
tions of color visible through
brush.
Wash and Watercolor
of
we
transparent
A fast sketch in watercolor

enables us to evaluate the
painting according to the color, without necessarily having
to include too
many hues.
been done, we can begin to

develop them to obtain effects such as superimposing
planes or creating depth
through color.
Flat Brushstroke
The choice
a painting
amount
If,
of
brush
to
use
depends on
in
the
of definition required.
during the
first
stage,
we
A flat brushstroke and the

power of the
color.
covering
L^nroiiiduc
r.
Types of Brushstrokes: Applying Paint

Resolving the Whole
never be treated as a type of
"painting-by-number" exercise, that
is,
simply paint in
to
marked
those areas you have
may happen
out in pencil.
It
that the line
as such
longer visible, and
it
is
no
is at this
point that you begin to drawpaint,
modeling shapes and
defining the contours.
Alternating Colors
with Strokes
Fast
Monochrome Painting
The color areas construct
main design of the composition and outline those
the
By roughing-out the picture it is possible to rapidly resolve the

problems of structure and the character of the landscape chosen.
Sometimes the application of masses with a single color not only
solves the problem of the main volumes but aids us m analyzing
zones that require separate

attention such as the sky, the
the tones of the actual landscape.
horizon
line, the foliage of the
and the greenery of a

field. However, these color
masses can appear flat. They
will have to be worked on
once the general roughingout has been finished. For intrees,
Frottage
There are many ways of

applying areas of color. Frequently a simple squiggle is
enough
color.
clude
to
Other possibilities
flat
strokes and the
in-
slightly
dampened brush
or,
simply,
by
adjusting our use of color to

the desired result.
tage technique. Frottage can

a
the
different tones of the trees
frot-
be applied with
we can vary
stance,
suggest a mass of
The wide brushstroke
is al-
ternated with a variety of othstrokes: round or flat,

narrow or broad, depending
on the effect required. In addition, the choice of brush is
er
with a piece of cloth, depend-
The use of different techniques
ing on the accuracy required.
reveals the drawing through

the paint.
important
The Drawing and
amount
the Painting
can hold.
of
terms of the
water or paint it
in
The landscape theme can

sometimes hmit the composition of the picture. Therefore,
preliminary drawing
able in order
arrangement
is
advis-
to establish the
of
elements with-
in the composition.
The drawing models the

main form and serves as a
guide to where the brushstrokes are to be apphed.
It
is
drawing from the painting;

ten
Paint applied using the
frottage teciinique.
it
MORE INFORMATION
not easy to separate the
is difficult to
see
of-
when
one starts and the other ends.

Of course, painting should
Rural buildings,
p. 56
distant planes
Painting foregrounds p. 94
RESOLVING THE WHOLE

The
first
stage of a landscape should include several steps that are fundamental for a
successful painting. The
artist
should not paint a definitive work from the outset. Once the
composition and the scale have been estabhshed, there
is
another step between the
positioning of the forms and the almost-finished appearance of the landscape. This
intermediate phase entails estabhshing the structure of the composition, in short, setting
the basic guidehnes for finishing the painting.
'^^'^C^^^Sa^:^ i-<^
Sketch of a landscape
in
jj^^^^^^^z:
charcoal.
From Sketch to
Initial
It
is
The
first
stains of watercolor are applied over the
Color
sketch to define the n\ain volumes.
not easy to sketch a
Color Approximation
size the general outlines of
shapes and volumes of the
fu-
Depending on
the medium you are going to
use, the sketch can be executed in several ways.
ture painting.
Indicating the elements for a
watercolor
is
done very
faintly
with a hard pencil, defining the
forms in a
making
general way while
everything
clearly
Having drawn the sketch

and chosen the color range
you are going to work in, it is
time to experiment with
on the palette.
of the colors
Satisfaction
some
may
take time, but
keep mixing.
In watercolor, the paint
mixed both on
on the picture
transparency
the palette
itself,
is this
since
'\,Cc
first
its
medium's
Having drawn the sketch with

charcoal, the
is
and
understood.
In opaque mediums like
gouache or oil, the underlying
most important characteristic.

to apply the
paint too heavily in order to
Take care not
landscape. You have to synthe-
applications
of oil follow.
allow for successive layers of

paint.
With oil, the color approximation can be carried out

gradually on the canvas, with
the possibility of being able to
correct an area at practically
any time.
With
oil
paint avoid dilut-
ing with too
much
turpentine
because the color should remain essentially unchanged

during the execution of the
painting.
mp
Bearing
in
mind
the difficulty
of making changes in
watercolor, the
first
strokes
must be exactly what you desire.

Pencil sketch for a watercolor
landscape.
sketch need not be as subtle

as in the watercolor medium.
In the case of
oil,
the sketch
can be executed in charcoal or

even paint diluted in turpentine.
'lypes ot iirusnstroKes: Applying Paint
Resolving the Whole

Animals in a Landscape
The Subjective
Tonal Adjustment
Roughing-out the
Canvas
Contribution
Once you have
finished the
When painting a landscape,
underpainting of the picture

using one or another medium,
the artist always
the task of gradually adjusting
subject according to personal
colors
the
begins.
When
searching for the definitive colors, the painter
should not only
compare them with
changes the
Even when the picture is done from nature, there

are many details that need to
criteria.
the colors
of the subject, but should also
pay
The
initial
depends
work on the canvas

to a certain extent
on the mediunn you are using.
watercolor always starts
with almost-transparent colors,
while
an
oil
in
the
first
painting
layers of
the
paint
should be diluted with plenty
attention to the chromatic
of turpentine.
range chosen and the colors already applied to the canvas. It

is at this
A landscape of the Mediterranean
stage that the painter
coast.
has
use the capacity
to
to syn-
thesize
and decide.
Ways
of Interrelating
how color interrelates

watercolor landscape.
See
in this
Colors
Both in the mixtures carried
out on the palette and in the
apphcation on the painting, the

colors of a chosen chromatic
range have such a mutually

dependent relationship that a
dark color, such as raw umber,
appears pale when it is adjacent to a darker color, such as
an ultramarine blue.
Colors relate to one another
by contrast and by a tonal additive and subtractive synthesis; on the one hand a cool
color always appears warm
when juxtaposed to an even
cooler color, and on the other
a dark color always appears
paler
when it is
situated next to
an even darker color.
As you can see
in the illus-
ochre used to
paint the canvas has been
turned into a warm color due to
the neighboring yellow green.
tration, the cool
be
left out.
Likewise, a land-
scape changes according to

the time of day and the season, so imagination and mem-
times
artists
may
alter
the
landscape they are painting,

both for compositional and
chromatic reasons.
ory are as essential as the
brushes and paint themselves

in order to be faithful to one's
original idea. However, some-
MOREmrORMATION
Details
and spontaneity
in painting
p. 10
Types
of brushstrokes: applying
paint p. 42
Rural landscapes p. 48
ANIMALS IN A LANDSCAPE
It is
traditional to include animals in a
or a touch of reahsm. Just as with
and movements
you want
if
to
have
of animals
to
all
landscape painting
All
give
it
a romantic atmosphere
be drawn
in
harmony with
the surroundings. Therefore,
include animals in your landscape, you will have to practice drawing them
in their
The Anatomy
an Animal
to
other aspects of a landscape painting, the shapes
environment.
of
shapes can be reduced

geometric volumes, a
to basic
enormous help
understanding all objects
that surround us.
Bearing in mind these geometric forms, we can represent the different parts of an
animal's anatomy on paper or
on canvas.
Animals are generally represented in profile or in a
fact that is of
for
three-quarter position, so
essential to
make
it
Horse seen
way
the shape
how to draw
and proportions of a
sketching
of the different positions of the
to learn
particular animal
it
is to
standing
three-quarter position.
The legs can also be reduced to tubular lengths; this

way, knowing how the joints
bend, you can draw an outline
is
a thorough
anatomical study of the animals you wish to include. The

best
in a
animal's extremities.
practice
still.
A foreshortened
horse from
behind.
Proportioning a Horse
neck. According to the paral-
shape of a
horse's body seen in profile is
a cylinder. While taking care
to draw the correct proportions, two cones provide the
head and neck; their position
might be defined by means of
The
basic
lel
perspective of the cylin-
der, the earth plane indicates
the position of the animal's

legs.
Animals and Prehistoric
foreshortening.
Art
The legs are situated according to the plane where the

animal
is
Animals
located, the inclina-
in rural
in a three-quarter position
by
varying the position of the

cylinder while respecting the
cones that form the head and
the
first
and were
frequently the major subjects
plane indicates the distance
between them.
The animal can be posed
provided
artists with a motif,
tion in perspective of the earth
the
arts
developed.
contemporary landscape art, animals only form part

the composition as elements that contribute an interesting note
However,
of
and hunting scenes as
plastic
in
to a rural landscape.
Kesolvmg the Whole

Animals in a Landscape
Rural Landscapes
tures will obviously al-
The Basic Structure of Household and

Fa rm Animals
develops, the painter will de-
The relationship of volumes and shadows is easy to do using a soft pencil that
allows changes and gradation of the intensity of the shadows and volumes. A
schematic drawing of a
goose consists of an
cide on the colors, depending
on the palette he or she
Contrast by Means of the

Underpainting
The neck and
head consist of an elongated and flexible cone,

and the tail, of another small
cone. The wings are defined
If
similar
to
that
of a
of
hen
Once
The color treatment when

painting animals in the landdifferent de-
pending on the medium you
all
she can harmonize the contrasts with washes of India ink

Study of the structure of different
household animals.
are
working
with.
For
in-
stance, watercolors, requiring
and then apply the

colors and tones.
definite
Integrating the Animal

in the
Landscape
and
When painting
drawing, need careful color-
animals in a
may choose
The lines and colors

should be harmonious, going
landscape, you
over only the significant forms
ment by painting it in the foreground, or you may integrate

it further back within the landscape. This second solution is
achieved by carrying out a
ing.
and
characteristics.
When
Drawing and study of a cow with a

watercolor pencil.
the painter has solved
the anatomical questions, he or
the
a very precise positioning
be
by using a single
be able to
evaluate the anatomical shapes.
Color and Synthesis of

Animal s in a Landscape
will
beginning contrasts
color, the artist will
is
goose, except the neck,

which is a wider stronger
cone with another larger
one for the tail.
scape
in the
are resolved
with two simple curves.
The structure
is
using.
oval to represent the
body.
ways begin as geometrical figures. As the picture
painting in oils the
shape and color need not be

predetermined, but the crea-
*S..
make
to
the animal a major ele-
careful analysis of the forms
while treating the animal as

it
were
just
if
another element of
your painting.
Wa tercolor pain ting

of a duck.
/I
Example of how animals can
be completely integrated
into a landscape.
MORE INFORMATION
The
fast sketch:
outdoor equip-
ment p. 24
The quick sketch in lead pencil p. 34
'^2P!!3S55=SKr=-^^
RURAL LANDSCAPES
Landscapes cover a large number of environments
by
that are differentiated
However, the rural landscape contains much of the work

livestock, etc.
The
artist
does not need
rural landscape
Composition and
Background
Along with
all
the other vari-
mainly
their treatment of the subject.
to travel far to
of
man: buildings, gardens,
reach a suitable subject. The
can be found on the outskirts of any
rural landscapes,
city or town.
masses of col-
or form the planes of the earth,

since here importance
is
tached not
but to
to the forests
ations of the landscape, the hu-
the agricultural land
man elements in the landscape
features of the
at-
and small
The
terrain.
give rise to a particularly inter-
structure of a rural landscape
esting creative opportunity. In
usually has
more need
for the
vanishing lines of perspective

than the perspective
rather
achieved by superimposing
Watercolor with a rich
base and detailed
planes.
additions.
Important Areas of
cause of the elements
the Painting
cludes.
in-
it
Depending on
the
technique used, the details are

Creating a
sensation of
depth through
the composition
ofplanes.
There
are
three
distinct
planes in the rural landscape:

the general plane, the mid-
ground, and the foreground.

How these planes are com-
bined
depend on the
same
human eye can se-
will
developed in different ways.

The watercolor technique allows the
artist to
base
terminate
surface and then
the
picture
paint an inde-
on a wet
add details as
such
dries,
as
artist's intentions. In the
branches, grass, bushes, or
way
the chromatic differences of
as the
lect the points of interest in a
the terrain such as the shad-
subject, in rural landscapes
ows on
the
same
interest occurs
the desired depth has
the tilled land.
once
been
chosen. Including details in the
foreground, while gradually
The Importance of
the Motif
Although the rural landis a subgenre of the sub-
scape
ject in question,
it
requires a
special effort to synthesize the

Composition of depth after
adding a tree in the
foreground.
variety of elements within the
scene. Generally speaking, on

the outskirts of any city,
more undeemphasizes the more
leaving
fined,
Strong sense of perspective

in a painting with a triangular-
rectangular composition.
others
important ones.
In this subject, agricuUural
land becomes important be-
we
start to
trees,
where
see farmland,
fruit
and large expanses
of
land, the diversity of elements

in the subject
infinite.
The
becomes almost
subject
must
Animals
Landscape
in a
Rural Landscapes
Trees in the Landscape
The warm colors in the

The
initial
sketch should
be
synthesis of the elements to
included
foreground gradually
disappear in the middle
and background.
be
Van Gogh, The Red Vineyard.
in the painting.
and then
therefore be harmonized
what we choose
The subject
by
become
our eyes move into
tend
will
cooler as
the background. So
to include.
Van Gogh and the

Landscape
to
it
is
not
In this
painting,
Van Gogh
cre-
ates a landscape through the
for the painting
only perspective that defines
use of planes. The perspec-
synthesized through the
the third dimension of a paint-
tive
main lines, so we need to

choose those points on the
ing, but also the right use of
tion in size of the different
terrain that estabhsh the per-
location of the different planes.
is
color
is
often decisive for the
such as the
dividing line between different crops, electrical posts,
rows of houses, etc.

Once the general layout of
the subject has been completed, the location of the elements
will emphasize the importance
of the main motif. This is the
moment to delete any urmecessary components that
with
terfere
may
the
in-
overall
composition of the painting.
in
the
produced
by
the
color.
How to Use Different

Techniques
When painting a landscape

in oils, the initial
underpaint-
ing defines the broad planes,
general countryside, expanses

of land, fruit trees, etc. This
done prior
work, which
to
is
is
detailed
the
added
later. If
This pastel painting perfectly
combines
certain color from this initial
work
is
to
be maintained,
present
all
the elements
in the
landscape:
it
composition, depth, color,
should be visible through the

subsequent layers of color and
light, etc.
that
define the forms.

In
Inespective of the chromatic
range being used, you can see
elements that appear
composition. Note the use of
forms and masses of
seen between the details
Planes and Color
created by the reduc-
contrast
spective or the different position of the planes
is
watercolor
it
is
essential
to carefully position the
^-y.ffppr
sub-
ject
in
pencil.
Due
to
them blank.
oilpamting, the initial

roughing-out defines the
overall composition.
In
Although the foreground may be
formed by "warm " elements, the

cool colors
become stronger as the
subject retreats into the distance.
how
the
atmosphere acts as a
filter for
the objects as they re-
cede into the background. The

tendency of a warm color that
retreats into the distance
MOREXNFORMATION
is to
enter another range of cool

colors. For
example, a large
Working on and defining
the
wheatfield will have a richer
details is left for a later stage
warm
in the painting.
tone in the foreground
the
transparency of this medium,

dark colors can always be
seen through the lighter ones
and the artist must foresee
which areas will be the lightest so he or she can leave
A dear sky p. 86
A stormy sky p. 90
How to paint foregrounds p.
94
TREES IN THE LANDSCAPE

In order to
develop a landscape conectly,
Irrespective of
how the
subject
variety of trees that appear.
be
is to
Some
we need to carefully study each of its elements.

we should be able to distinguish the wide
treated,
are perennials, other deciduous,
some
others wild bushes. The growth pattern of each kind varies and the
are
artist
fruit
and
trees
must study the
structure of the branches so that the areas of leaves help identify the plant.
Drawing the trunks and branches

bare branches
Proportioning and
Perception
and the
^^j^J
'
To paint trees correctly,

the artist must be famihar
with the lines that form them.
By carefully studying trees,
you can see that there is a
close relationship
in pencil is great for learning
in winter
sketch can then be elaborated
upon by adding
*/II
Mf
r-f
v-A Llili
Foliage
Sketch of leafless trees, with a
between
trunk and between the differ-
Once
the basic
structure
branches is in place, one

way of representing the leaves
is by understanding the varied
of the
ent trees in the painting.
To develop the volume and

the structure,
it
ways advisable
start
olive trunk.
the branches
and the leaves.
con:ipact treetop.
An
synthesize both the
of lines as possible. This initial
"
the proportions of the trunk
and the foliage. You need to

observe how many sections
the trunk consists of in order
to establish the right proportions between the top and the
how to
leafy ones in the spring.
density of the foliage.
The density
is al-
concept
that
summa-
decide the
visible
spaces
rizes the subject,
between
using as
small a
the
foliage will
with a sim-
plified
of
branches and
to
hem
number
The denser the fo-
Artist's
concept of the
liage,
subject presented below.
Photograph of trees with the

differences in structure
and
the
less visible the
branches
When
foliage.
artist
will be.
painting a tree, the
notes the density of the
fo-
by the degree of transparency existing between it

liage
and the space showing through.
How the
'
artist
has
synthe"sized the
elen\ents
of the
subject.
Correct sequence for

painting a tree.

Trees in the Landscape: Branches and Leaves
the
First,
filled in
main areas are
details begin to appear as the

volumes approach the ob-
server's vision. In order to
suggest volume, two greens

of different intensity can be
used, which increase as they
approach the foreground.
Colors used
Reinforcing the Colors
without detail. The
We start with just three col-
%.
applied
create
silhouettes of the leaves are
combined with the background using the darker

green. The lighter green is
nated
stage
to
illumi-
areas
con-
taining forms such as
bunches
of leaves, thus creat-
planes. The
background color is used to
"empty" certain areas, help-
Painting a Tree
first
chromaticism.
which will include the

background color, a medium
green, and a dark green. The
ors,
ing
The
to
reinforce the
is to
the subject in such a
ing in this
position
way
different
way
to
three-dimensional
as to
create a
effect.
achieve the correct proportion
between the top and the
Light green for the highlighted

areas.
trunk.
Dark green
This placement
tirely
of the
is
where
How alternating chromaticism

defines details.
Determining the Finish
the fo-
eventually to appear.
case of
artist
begins with a dark col-
oil
The degree
painting, the
In the
or,
a blackish green.
If
of finish ap-
plied to the trees or group of

trees depends on the distance
from the observer. The closer
the
mainly luminous, a
bright green with gray-blue
should be used. The overall
structure of the tree is then
painted in this dark color,
tree
for the shadows.
"Empty" spaces created by the

background color.
then en-
covered with the color

background, "invad-
ing" the areas

liage
is
is
the tree, the greater the definition of colors,
details,
and
tonal variation in the branches
and leaves.
leaving only the large empty
space
for the sky.
The painting is begun
after the
different planes of depth are
determined.
^j^mSi^
As
INTERMEDIATE PLRNE
the observer's viewpoint
retreats, the tree loses
definition
and
contrast.
MORE INFORMATION
trees p. 12
PLANE MOST DEHNlH
Trees in the landscape: branches

and leaves p. 52
TREES IN THE LANDSCAPE:

BRANCHES AND LEAVES
made in studying trees will enable you to understand

how to simplify the forms.
the effort
Painting a tree as the main subject
element
whereas
in the composition.
in the
The
is
first
not the
same
as simply including a tree as just another
instance requires careful attention to form and detail,
second, the forms are more general and show less

the
main features
of the tree are
still
A combination
of forms that
represent the trees, incorporated
into the painting as a whole.
detail, although, of course,
present.
From Details to the

Overall Treatment
An
artist
may decide
to
paint a grove of trees, only detailing those aspects that dif-
ferentiate the particular kind of
These features include,

example, the kind of bark,
the shape of the leaves, and
tree.
for
their general
appearance.
The trunk
is
painted in a
general tone, emphasizing the
shadows, though not too much

of the detail of the texture.
Detail
is
added once the genbeen apphed.
eral tone has
A landscape
with a composition
developed in accordance with
The texture of the trunk can

often be represented by lines
and gradations, in which case
the volume of the trunk is created by the play of light on
the bark
itself.
the trees in the foreground.
The composition of a landis often based on the

distribution of the trees and
the combination of masses of
scape
Samuel Palmer, Pleasant

Shadows. The branches
color they produce.

It
is
often difficult to distin-
of the trees frame the
guish between the background
and the
composition.
especially
subject,
when the emphasis
is
Edward Seago, Norfolk
on the
Winter. Here the
overall composition.
The
distribution
trees, although
spond
it
may
artist
Field in
uses the
skeleton-like trees to stress the
of
wintry weather, loneliness, and

silence of this snowy landscape.
the
corre-
to reality, is often
ma-
nipulated within the landscape
by the artist to arrange the

shadows and volumes so they
harmonize with the structure
In this painting, (he <n'i:/ sluiî
of the terrain.
out
among the rest
elements.
as the
mam

Trees in the Landscape: Branches and Leaves
Detail and Perspective
A Thicket as the
aid green
Overall
Composition
The composition
scape
of a land-
starts with a synthesis
the
of all
proach
to
applied on the
brush-
final
Details
Within the Whole
a series of design
strokes,
of Planes
As the plane comes closer

to the
gins
the initial ap-
the
Detail and the Proximity
viewpoint of the observimage as a whole be-
er, the
elements of the
From
painting.
is
wet surface, different areas of

darker greens and blues will
spread over the wet area and
blend together.
A mass
of color
appears
to
fade
to
after
be
forms, determine the overall
individual
effect of the painting.
useful for introducing distant
ent planes to
landscape
through half-closed eyes, you
will see that the elements lose
planes,
on occasions
there are elements that are
left isolated among the broad
masses of color, a solitary
tree, for example. In this
is
If
you observe
their definition
and the entire
composition becomes more

unified. In the case of a thicket of trees, the chromatic density tends toward a uniform
In this
landscape the thicket
blended
is
into the whole.
a uniform whole, with no

identity.
This
is
yet
case, although
we
maintain
the green chromaticism of the
the
completing the layout of
develop which,
based on the color and the
decisions
although
elements themselves become

more defined. In most cases,
the painting, the underpaint-
ing already includes the differ-
be developed.
It
over these that the details of

the foreground are added. The
chromaticism of the background is worked on first, then

the colors and forms are gradually defined.
In the foreground, the de-
treetop, the chromatic effects
tails of
should be reinforced, especially in those areas where

two chromatic areas come
and trunk become apparent.

This is where a smaller brush
is useful, together with more
into
contact.
The
texture
varies in accordance with the
the branches, leaves,
attention to the shadows, texture,
and
effects of light.
effect of contrast while the
shadows
ject also
of the isolated ob-
add an emphasis.
between
produces
a simultaneous contrast between
The
mass. Beyond the mass of color that forms the thicket, the
distant planes can
be seen
variation of color
the tree
both
and
the whole
tonalities.
to
contrast with the chromatic
and
tonal
changes
in the fore-
The foreground
ground.
The composition of trees is
based on a uniform mass of
UfM
relationship to
the background.
color that brings the elements
together.
When working
c^^^t^s depth in
in
watercolor, the surface of the

thicket can be painted on a
wet surface, varying the ap-
plication of color to achieve

different effects,
i.e., if
emer-
The foreground has been

defined so as to differentiate
it clearly from the rest of
the painting.
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as
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MORE INFORMATION
trees p. 12
94
iP=*5^-5r-^^
DETAIL AND PERSPECTIVE

In a landscape,
all
the elements have to
The structure upon which
this
be developed within
the Umits assigned to them.
occurs forms part of the interrelated planes, the planes of
the subject being the reference points.
Both perspective by planes and by vanishing lines recreate the third dimension of
the painting. This includes the correct use of color
and the iconographical elements
of the picture.
Drawing Instruments
In
order
emphasize the
to
sensation of depth of the different planes, importance should
be attached
drawing and
which reduce
to the
tonal evaluation,
harmony of individual elements and major
the subject to a
planes.
Drawing is of great importance

for reinforcing the sensation of
depth through different planes.
white of the paper free of any
The drawing establishes the

lines of perspective and the vanishing points. The basic layout
of a landscape can be carried
out with almost any drawing instrument, although
watercolor washes.
Working on Dimensions
and Proportions
the intrinsic
properties of each instrument
should be used
to
enhance the
it
technique employed.
When you study the compatibility of the different
certain
mediums
techniques,
that at first ap-
pear incompatible can actually
be
suitable in combination.
clear
example
of wax as a
of this is the
use
drawing medium,
for
wax repels water and leaves the
is
useful to study the planes
go to make it up. If you

imagine it as a flat surface, the
motif can thus then be transferred to the painting. Within
that
How to position
the chosen format of the subject, the
point of interest
is
in
advance of deciding on
termined to be the point on

which the Unes of perspective
will
converge.
the central
focal point of the composition
de-
the different planes.
In
many
scape
cases,
the land-
interpreted by
is
means
of the position of the different
planes. Starting with the sub-
decide what the main

volumes or masses of color are
to be and reduce them to their
ject, first
outlines.
Once
terest
selected as the refer-
is
the center of in-
ence point, it will be easier to

decide the position of the different elements of the painting.
We
planes
can be used
can be used for
determining the layout, the drawing,
and the perspective of the different
planes of the painting.
Any instninient
for
drawing
that
lines
mentioned three main

in
landscape: the
background, composed of the

mountains; the middle ground,
containing the thicket of trees
at the same time, sepa-
which,
rates the foreground from the
Trees in the Landscape: Branch--
-^-^
!
- --
Detail and Perspective

Rural Buildings, Distant Planes
When composing,
into
the artist takes
Different Planes in the Sixteenth Century
account the dimensions and
proportions,
i.e.,
the different
planes.
scene of Saint George and the Dragon
In this
Carpaccio presents us with a landscape
been taken with each
background; and the foreground itself, which centers on

the main theme of the compo-
The orderly fashion
in
(1
502-1 507), Vittore
which great care has
of the different planes.
in
which the trees and buildings are
distrib-
uted focuses our attention on the horizon, thus separating the

nniddle
ground from the foreground.
sition.
ground
From the General to
in
which the perspec-
tive follows a linear layout,
the Specific
The Importance
Foreground
of the
with lines of perspective that
Based on these three planes,

two distinct types of perspective are introduced: that creat-
ed by
the two
more
distant,
superimposed planes, and that

which develops in the fore-
retreat toward the vanishing
ments are positioned on the
The foreground is of fundamental importance in landscapes in creating a separation

from the other planes.
The chromaticism we use
will increase in brightness in
the closer planes, which also
surface of the landscape, their
involve
point,
i.e.,
the focal point of the
landscape.
By calculating the proporand adding the hnes of
tions
perspective, the different ele-
size diminishing in
The
artist
works on the
background plane.
This completed,
move on
to
time to
the foreground.
it
is
accordance
more
detail
tured work. In
with their distance from the
detailed
observer.
solid
this
and
tex-
plane, the
work presupposes a
knowledge of drawing,
and the nature of hght.

Although the initial color is
forms,
MOREmrORMfiTION
the
same
for all the
planes pre-
sent in the painting, in this
The horizon line and the viewpoint
area
p. 38
act
we must apply more
ex-
brushstrokes and avoid
any ambiguity
of color, bring-
ing everything closer to the

real colors of the subject. This
color work,
more meticulous
the foreground,
by
the
is
details
in
necessitated
of
leaves,
branches, bark, and grass.
When adding these

we must bear
in
mind
details,
the un-
derlying color, letting the col-
more distant planes to

show through and reveal the
or of the
overall distribution of color in

the painting.
56
RURAL BUILDINGS,
DISTANT PLANES
Landscape painting holds numerous
possibilities for representing the
elements in the
landscape, both as to subject matter and form. The different elements of the landscape
are used to balance the composition. This
why
is
the observer
of reference points in the painting with

Lastly, there exist
many different ways
which
of representing the
when debackground. Where
ent planes, at least

tailing the
the land line starts, the earthy
greens are painted using neutral
color combinations.
The painting starts with

the background.
in
oils
The arrangement of the motif

determines the method to follow (in this case a mountainous
landscape) and a stretch of land
Suggesting Volume^
Although we started by explaining
how
to
define the
architectural forms,
the
ap-
them. Studying
the lighting of the painting,
leaving the foreground for the

later stages.
most distant planes.
that illuminates
The background may be approached by starting with a

thin painting
the existence
proach you use is primarily

based on the variations in the
different planes and the light
Defining the Background
quick,
welcomes
to identify.
Underpainting that
Defines Forms
Distance in a landscape has
own form of expression. It is

obvious that forms in the dis-
its
we
can see how the light strikes

the walls of the houses in different ways and how the
rooftops cast a shadow on the
supporting walls. With this,
and a basic understanding of
perspective, the houses and
other buildings can be reduced to geometric forms.
tance are smaller, but color

also helps to place the objects,
which,
far,
if
tend
to
take on
the general color of the back-
TTien we start on the mountainous

plane as well as the foreground.
Finally the details are added.
in the
foreground sets the scene
for the relationship to bluish,
cool
tones
in
the
distance,
which in turn helps to situate the

middle and the foreground.
Planes in the distance must
always be painted using a
ries of
which tend
to
blend
into the
background.
The colors
that are to define
which, unlike the trees and
warmer
the brushstrokes.
off the limits of the differ-
different ways.
forms are created to
ground. After evaluating the

sky and the mountains in the
background, the land line is
placed into the painting with a
mark
and rooftops in
suggest thickets of trees and

bushes, the most distant of
start as
advisable to clearly
the walls
Starting from the earth line
those in the middle or fore-
is
you can
how the light strikes
and moving toward the mountains in the background, a se-
the construction of the painting
It
see
ground while those closer to

us have a more distinct color
and resolution.
cooler range of colors than
color.
In these buildings,
simple, dark shapes
other elements in the landscape, have geometrical forms
defined by their plane and by
Many elements can be painted

by using geometric forms
with their own shadows.
D^â.ii
and Perspective
Rural Buildings, Distant Planes

River and Pond Landscapes
used, and
The Medieval
Landscape
when
they are,
it
using a series of flowing brush-
should be intentional, and for a
strokes that define the forms
good reason.
while letting part of the underlying color to
The
artist's ideal
throughout the
history
of
painting. During the
Ronnan
and Gothic period,
Brushstrokes and Planes

in the Construction
obvious
references and
was almost
always painted fronn an elevated viewpoint.

naissance,
Each brush has
architectural
it
the
In
tones and colors are

blended on the canvas.
the Re-
landscape
its
own way
of expression according to
design, and
one
we
its
should use the
that best suits the
area
we
are painting. Soft-haired brush-
ainnost always the back-
es are ideal for blending colors,
drop to the characters and
while hog's hair brushes can
buildings. Today, a rural land-
take up a large amount of paint
Balancing Color and
scape may or may not
and create planes and masses

of color that are well emphasized, while at the same time
Forms
was
in-
clude buildings.
providing the texture associat-
ed m\h a stifi haired brush.

Changing brushes creates a
wide range of textures and
The Reflection of Color

on Buildings
All
flat
surfaces,
helps develop the different
and especial-
ly those that are hght-colored,
are perfect for reflecting
all
the
colors that surround them. This

is
A blended brushstroke. How
land-
scape was unthinkable without
show through.
has varied
why a landscape should never
The forms present in a landscape are seldom perfect; they

always have slight deviations
or defects that bring them to
life. The color is always combined with the areas that these
planes during the construction
forms occupy, emphasizing the
of the painting. This construc-
three dimensions
ranges from the purely architectural, which requires flat,
the play of light
tion
by means of
between one
plane and anoflier.
straight brushstrokes, to the
representation of treetops in
the middle
and background,
be painted in the colors the

artist beheves it to have, but in
the subject's own, real colors
way to build up planes.
textured brushstroke. The
that include the reflection of all
the colors nearest to
scapes, white
a pure color.
all
it.
In land-
seldom used as
Considering that
is
colors are interrelated in ac-
cordance with their proximity,

pure colors should seldom be
Claude Monet. The ^vVheat-field.

This landscape is a good
example of how to construct
forms designed for the entire
painting, not individually, as
Clear colors are seldom

pure. They always reflect
shown by
the detail below.
their surroundings.
Composition
in
landscapes p. 28
Different planes
and depth p. 76
RIVER AND POND LANDSCAPES

Within the great variety of landscapes, water themes offer a wide range of possibihties,
from the source of a
river,
abundant with vegetation, ponds, and reeds,
vast rivers
As regards the
it
is
advisable
and the work
and
pictorial aspects,
to
all their
to the
depiction of
associated elements.
water has always been a problem
for
beginners, so
learn the possibilities that this theme offers. Observing the subject
of other artists will
enable you
extremely
to
understand an aspect
that at first
seems
difficult.
way
The composition of landscapes
by
with water has at least three
includes this
the
in
which he or she
new element.
parts; the water itself and the
two banks.
Composing the Masses

of Color Surrounding
^^:*,^;>^ --****.
the River
Although
is designed in accordance with the balance of

forms and color in the paint-
composition
The River and Pond

Landscape. Theme
and Composition
ing,
is never included as an incidental feature. It has to be an image
When drawing a sketch, the

importance of the course of the
river must be borne in mind.
irrespective
is
the
of
main subject
of the painting or an addition,
the river will influence the entire painting.
The composition
of a paintits
always divided into
three parts: the water
theme
and
mountainous landscape, the

distribution of the masses of
color and the composition correspond to the distribution of
the elements. In the case of a
however, the line of its

banks strongly influences the
composition and becomes the
main feature of interest. The
river,
balance the
riv-
er with the remaining elements
SOBREESTETEMA
Agua: rios y estanques p. 62
Reflejos
en
el
agua
is
mass formed by the water
so emphatic that the rest of
the elements
depend on
The mass of the water has great

importance when the composition
forms are considered.
p. 68
the
river.
The placement of the river

depends not so much on the
river itself as on the surrounding planes. The elements in
the painting
fall
into place dein
such a way that the space reserved for the river at first be-
at least
itself
two banks or shores.

When a painter observes a
artist will try to
the
pending on the subject,
ing that uses water as

is
are dealing with
form and color of the
that has attracted our atten-
and
whether it
when we
a landscape containing a river,
Within the composition of a

landscape, a river
tion
we have seen that
non-aquatic landscape the
in a
FoUowing on from
the previous
layout, the large area
occupied by
the water must
be contrasted
against the other elements.
River and
Pond Landscapes
Rocks
comes
a neutral
element
in a
Landscape
that
requires elaborating as the
Water
progresses.
painting
should reflect the objects that

surround it, such as the trees,
sky, rocks, etc.
The Palette and the Color

According to the chromatic
range we have chosen, the
tonality of the landscape will
have different tendencies: the
warm, cold, and neutral ranges
of colors can all be developed
within the subject of the landscape.
A sequence illustrating the
A painting is not only a composition;

light.
and
also color
is
it
process of creating a painting

with water as the main element.
Sometimes, the atmos-
phere
is
reflected
fully in the
more faithby the
other occasions, the trees and
painting than
subject
itself,
artist to
ensure
so
it
is
up
their reflections in the river are
to the
developed simultaneously.
atmos-
that the
phere of the landscapes is developed through the use of

color.
ic
Once
Lights and Shadows
the right chromat-
Depending on
range has been chosen, the

and
landscape
the position
tonal values of the lights
of the
darks of the subject are estab-
the backlighting can
lished.
It
then
becomes
reflected on the water.
Three Levels of
Development. Trees
and the River
approach
become
an important part of the composition. Lights then become

the main pictorial element by
possi-
ble to estabhsh of the colors
In a simple
to the sun,
outlining
objects and thus
becoming
more important
element than the color itself.

Or, with the source of light
behind us, the objects and
to
a riv-
er landscape there exist three

of development: the
background, comprising the
levels
sky, mountains, or distant trees;
m^
their reflections
may become
important. The chromatic and

tonal contrasts alternate
and
more luminous colors must

be used.
secondly, the land edges that
surround the water, such as

open fields, trees, etc., and lastly, the river as a combination of
reflections an abstract reflection of the nearby colors. When
painting a landscape,
overall chromaticism
first
is
the
Reflections at
Night
Adam Elsheimer,
Flight to
by generally covering
As the middle
ground develops, some of the
elements will be reflected on
the water. Sometimes a few
Egypt
(1609).
estab-
lished
the
canvas.
simple brushstrokes are

is
necessary
of the sky
all that
to reflect the color
and the elements
along the banks of the
river.
On
The painter
pre-
sents the subject

as a landscape at
night, in
which the
composition
shape
of an
in
the
arrow
of light present
night sky.
in
is
carefully distributed
the painting.
In this
among
case the
the three points

river mirrors
the
ROCKS IN A LANDSCAPE
Rocks are very
common elements in a landscape painting. A landscape does not
necessarily have to include
all
of the
elements of nature
that ordinarily
cannot escape
the painter's attention.

All the
elements of a landscape painting can be reduced

of nature's accidents
schematic
to
lines,
and the geometry
can perfectly well be identified by means of light and color.
Volmne and Light

Rocks, mountains,
all obcan be reduced to basic

geometric shapes. The volume
of an object in a painting depends on both how far away it
is from the observer and the
jects
source of light.
The atmosphere separating

us from an object acts as a
fil-
and makes distant objects

take on a coolish hue and a
ter
Rocks may be expressed with

lines, but these should
flattish
highlight
appearance.
The way the rocks
simple
mass and weight.
and
stones in the foreground and
middle ground are illuminated

decisive for emphasizing the
is
of the objects. The

shadows are not only
cast over the ground and the
face of the mountain. The light
acts differently in each in-
volume
rocks'
Scheme
of a rocky landscape.
Geometry an d Stones
stance, creating distinct tonal

planes.
can be reduced
simples lines. A scheme
depicting large rocks and
even mountains would consist
of planes of color masses, and
it is precisely during the initial roughing-out that these
solidity,
objects
acquire
through the development of
color planes. A rock is easy to
understand if we deal with it
All objects
to
In certain occasions, texture
light
become
critical
and
elements
in
stone painting.
The Foreground
with Large
Volumes
In
made up of flat
and round planes defined by
in
Therefore, the planes'
the artist has to
rock's color.
the foreground,
of
obtaining
weights
tions of a single color,
palette in order to obtain the
1890,
using the principle
colors will be seen as varia-
which
mix on the
in
Degas has situated

the large volumes
as an object
light.
picture,
this
painted
ferent
masses
that
make up
colors being found at the
The foreground
which,
tail
in
in this
spite of
its
the picture through color, the darkest
bottom
case
is
in
the foreground.
an important compositional element
predominance, has not been rendered in deis to achieve a maximal contrast
since the painter's objective
of light.
the
of the dif-
River and Pond La^-d-'-^^Gs
Rocks in a Landscape
Water: Rivers and Ponds
The Light on the Subject
Light Envelops Objects
Likewise,
if
the painter de-
cides on a tonal atmosphere

Colors may be tonal or local
depending on whether the
light
is
or
direct
When
an
frontal
light,
its
indirect.
receives
object
volume
is
tance of
mind the importime of day when he
enveloping the whole landscape, the colors will undergo

an interpretation accordingly.
In this way, depending on
whether the tonal atmosphere
chosen is warm or cool, green
will take on a more or less in-
or she
is
painting the subject.
fluential
This
especially so
Light is an important element in the landscape because

it emphasizes and differentiates textures and volumes. For
reason the landscape
this
barely discernable, and the
must bear
shadows are minimal. Therefore, the color
displayed
is
the
own specific color, the

color. On the other hand,
object's
local
when the hght
is
indirect or re-
flected, the object
undergoes
artist
in
when
be
role.
Shadows
will
you choose
the
also
is going to be painted
over a number of sessions,
ows
since
essential to maintain
a cool or bluish character, but
same incidence of light

it was when
maintain the general warm

tone in their hghtest areas.
is
picture
it
is
a series of tonal alterations
the
caused by the shadows and reflected colors of the surround-
over the objects as
affected:
warm
if
composition, the shad-
will, traditionally,
take on
starting the painting.
ing objects.
Wet Rocks
A study of the
color of bodies:
A, with lateral lighting. B, with

direct
and frontal lighting.
Unity in a Landscape and

its
You
Chromatic Effect
C,
with light reflected off a
When
colored object.
palette,
the artist chooses a
it
relate to
must be one
that will
the tonal grada-
all
tions of the landscape.
When
the painter decides on the
chromaticism of the palette,

the subject's colors will have
to be analyzed in order to be
able to continue with the painting
at a future date.
We
could use
the
term
"translate" to refer to the

in
which the
artist
way
interprets
the landscape's real color.
The rocks
in this
influenced
by
range chosen.
painting are
the
harmonic
will notice, in spite of
having settled on a definite

chromatic range, that a color
may vary in intensity where
the object is wet. The tonality
of stone and rocks intensifies
when
it
comes
into contact
with water, so that
when you
paint rocks along the banks of
rivers or those
drenched by
you
rain the tone of the color
are working with will move

toward the chosen harmonic
range. For example, an orange will tend toward red, or
a gray toward blue.
^^
WATER: RIVERS AND PONDS

have always found water themes particularly challenging, and throughout history
Artists
painters have discovered
all
manner
of ways of interpreting the waters of rivers
and
lakes.
Water
is
mainly a mirror of reflections. Light penetrates the surface of the water, reflecting
Water
is
even more pronounced by the movement
both the objects nearby and
the rivers
and ponds. Such movement or
in the
stillness is
of the hght
wind and the
internal currents of
emphasized through the character
reflects.
it
the water should
background.
of the
be taken
into
account from the beginning of

the painting.
Color as a Reflection of
the Surroundings
No
is
Calm water reflects objects

with more sharpness than
moving water.
matter whether the water
moving or
still,
the colors of
the environment are seen in

the water, the shapes being
more
or less defined depend-
The movement of water

distorts forms and reflections.
The representation of color

water is always more intense than in the scene itself,
and the colors you use to
paint the scene must also be
used in the reflection on the
in
Movement in Water
Water is a living mirror on
which hght is reflected to a
greater or lesser degree, de-
pending on the way
How to Paint Riverbanks
ing on the water's surface.
surface of the water.
Make
There are many
difficulties
involved in painting a river-
bank scene. This
is
because
of
the intermixing of the colors of
the reflections
and
of the vari-
ous objects being reflected. In

principle,
when
resolving the
sure that the vertical planes of
image-reflection problem, the
which
the surface continue to reflect
original
When the
vertically, while taking into
fined one, while the reflection
wind disturbs the calm waters
account the distortion produced by the distance be-
the water
is
moving.
in
of a lake, the clarity of the reflection tends to

fled.
Then
surrounding
comes
become
ruf-
the reflection of the
landscape
tween
reflected
the
object
being
and the water.
be-
to
movement
distinguish
it
the
from the ripples produced by

the wind.
seen as an variation of the

no matter how still
the
waters
when
copy
in the usual
way,
including the reflections of the
mediums hke
acrylic, the reflections
painted
to
oil
or
can be
mirror the reflected
objects themselves.
Greater care must be taken

with watercolor; the distortion
produced by
Even
be.
is
a faith-
of the reflected im-
Contrasts are accentuated in
is first
reflections.
water. In
may
the reflection
a landscape
with water, the picture
roughed-out
more de-
is always a slight
change in tonality.
The areas between the
riverbank and the water tend
to be populated by weeds
and rushes; they should be
is
of the current itself
When painting
the
age, there
painting water,
essential
is
original,
ful
less distinct.
When
is
image
the reflections
on
Reflected objects not only

reverse the shape of the image
but also comply with the rules

of perspective.
Rocks in a Land^c^p'^^
River and Pond
you have finished the
If you have made
a good preliminary drawing,
it will be easier to locate the
limits of the two planes. One
umbers, and blues

it
appear even
left until
siennas,
other areas.
would make
way
The Sky in a Reflection
is
in
through tonal
which, through contrast,
will
make
still
water,
which the blue tones
flect the lightof the
contrasts; the bank in the area

where it meets the water can
be painted with darker colors,
Pissarro creat-
ed the surface of
of separating the land
and the water
brighter. Therefore, a painting
become muddy
will not
In this picture,
re-
sky that
cannot otherwise be seen
in
keep
to
the
harmony
if
you
of the
chromatic range: water
is al-
ways more intense when the

reflections on it are painted
with lighter colors than those
the painting.
used
in the rest of the scene.
Use White Daringly
the water lighter or
almost white.
It
is
often said that white can
ruin a color
Photograph of a landscape in
which the water is featured.
Pissarro,
The Sea
Montfoucault,
by making
ap-
it
pear pastel-like. This is true to

some degree, but when white
is used as a neutral pure color
it can create foam in water,
suggest the speed at which
the water gushes over the
at
Fall.
rocks, etc.
Don't
Muddy the
Colors
Watercolor, on the other

hand, does not include a white
The palette
is
where you
or-
may
oc-
ganize your colors;

cur
Using the example above,

the artist has freely
changed
certain elements with the
aim of improving the overall

painting.
it
when working on a
specific
which is quite logical if

you consider that in this transpaint,
parent
medium white
is
ob-
area that the profusion of col-
tained from the color of the
ors you are using ends up dis-
paper.
coloring those that have to be
cal
kept unmixed. In
or,
fact,
any col-
no matter how muddy
it
ap-
pears, can appear to be pure
next to another that

is,
is
not, that
One
ways
of the
most practi-
of obtaining white
is
wet the areas you want to

highlight by applying a solution made up of 50% water
and 50% bleach.
to
there exists a law of color
that defines the intensity of a
color from the contrast created
with other colors. In a land-
If you
paint a picture following
a cool, warm, or neutral harmonic
range, the colors will never look
muddv
scape in which yellow ochres

predominate creating a warm
overall tone, a cadmium red
would look extremely dark.
Surrounding these colors with
White can be openea up j/;
watercolor by absorbing the color.
A solution
comprising 50%
water and 50% bleach also
provides white for watercolors.
MORE INFORMATION
River and pond landscapes p. 58
River and
RIVER AND POND VEGETATION

A unique world of plant life exists on the edges of rivers and ponds,
vegetation found in fields and woods.
that creates a pictorial barrier
and form become
It
is this
from the
different
type of vegetation surrounding the water
between the two planes
of the painting.
The variations
different forms of expression in the landscape, achieving a

of forms, texture,
and
of color
combination
color.
and then the

is
used
sgraffito
method
to create the textures of
Then all that

add a few de-
the various plants.

is
necessary
is to
such as flowers, leaves,

shadows. The reflections of these plants on the surface of the water can be
painted in the same way as the
tails
and
their
other elements.
Painting reeds and plants that
Reeds
grow in and near the
Along the banks of rivers

and ponds there are wild
plants that form a barrier that
screens or even entirely conceals parts of the background
landscape. These plants can
of-
water.
creative expression
achieved by shghtly darkening

sections of the canes with small
The canes can also be created

by first applying streaks of
translucent wax, which will re-
broken hnes, stressing the

knots and joins of the plants.
pel the watercolor.
shadows are painted
and earth colors or blues

hills, the reeds can appear
color.
Expression and Subtlety
as blowing in the wind.
Representing these elements

requires a careful study. At the
technical level, painting plants
means
of
to
move
into the
drawing because
realm
of the lin-
ear character that characterizes

vegetation. The smallest brush
must be used to work against

the background, painting with
yellowish green and orange
strokes
that
represent
the
canes and other grasses, while

the tip of the brush can be
used
for sgraffito
and textured
work.
When
using the watercolor
medium, it is advisable to work

on a dry surface, so that the
color will not spread and mix
first
directly
application of
The transparent nature
of this technique allows for
two
layers of color to be blended
trees
of
In the watercolor technique,
over the
and sub-
Against a background of
lighter, closer planes. This is
with the background colors.
ten serve as an opportunity for
tlety.
This technique can be enhanced by employing a much

more dehcate style of painting,
in which the brushwork highlights the volumes of the
Wild flowers and plants can

be painted using different
techniques. The mass of color
can be worked on as a whole.
by superimposing one over

the other.
Trees painted by drybrush, using

only a snâll amount of paint.

Pond Vegetation
65
River and
Wild
Flora. Integration into the
Landscape
Planes and Features

Durer and Plants
When
painting
near
and
landscape painting.
in
also
employed when
wishes
It
of
in
Durer,
history, reveals his virtuosity
and knowledge of botany.
posing different planes within a

landscape is a regular procedure
one
the greatest watercolorists
In this painting,
middle planes, it may be necessary to superimpose different

levels of the reeds. Superim-
Watercolors allow you to
al-
is
the artist
to highlight the
impor-
tance of depth or mass.
The plants found in these

wet areas usually form a barrier. In order to paint this
plane, we first use an indis-
background tone
tinct
that is
darker than that in the

foreground, while revealing
slightly
some
ors.
of the
underlying col-
By adding other, more

artist berendering of the
detailed planes, the
gins
the
plants at the level closest to

the observer.
wet and
ternate
niques
Short sequence showing

the reeds are
how
superimposed
in the
foreground.
works
in
dry tech-
order to achieve
of great beauty
and
realism. In this painting, he

first
applied a wet, almost
transparent base color. Then,
using less water and acheiv-
Vegetation and
ing a more opaque mix, he

completed such details as
the textures and shadows.
Movement
All the
elements present in
a landscape are subject to the

effects of the wind, water, or
snow. Vegetation moves accordingly, depending on the

weather conditions. Plants
will tend to lean in the direction of the wind,
and the more
Plants on the Banks

Aquatic plants will usually
grow in those areas of the river where the current is weak-
We
flexible the plant, the greater
est.
the angle.
paint
will usually
want
to
bend in the wind
them using fine brushstrokes and making them lean
often do so from the middle,
slightly in the direction of the
rather than from the base of
current.
Plants that
the stem.
The
effect
etation in
produced by veg-
movement
is
best
represented by rendering
fuzzy planes and bending the
plants themselves.
Small plants on the riverbank.
MORE INFORMATION
Reflections
on the water p. 68
WILD FLORA.
INTEGRATION INTO THE LANDSCAPE
Each landscape has
its
own characteristic vegetation depending on
of the area represented. In landscapes, flowers are
are not included
at all,
as the terrain
may be
seldom painted
so dry that
it
degree
the
in detail
of humidity
and sometimes
only allows the growth of grass
and bushes. Nevertheless, when wild flowers do appear
in a
landscape, they provide
touches of color that help situate the remaining elements and indicate depth.
mwrnrnm
and blue
is
complementary
to
orange. The complementary

colors are those that present
maximal contrast and which,

next to one another, produce a vibrant effect
in
the
eye of the
when placed
Example of a
been
beautifully represented by
to
see
red
the use of con:iplennentary colors.
why
in a
green
our attention
making
Roughing-out the
Composition
The basic structure
of a land-
depends on a
correct roughing-out of the can-
The balance of forms and

colors will be arrived at as the
vas.
Complementary
Chromaticism
The play between oppo-
painting progresses.
When
has long been a technique used by artists to draw

the attention of the viewer to
beginning to define
forms and colors, the artist
must decide which combina-
sites
tions of
complementary colbe used. This is

important because if we are
the landscape.
ors are to
tary colors are those posi-
using a cool range of colors,

rich in blues and greens,
color wheel;
adding
a strong
complemen-
can
tary
color
much
attention
attract
away from
tioned
Complemen-
opposite within the

i.e., yellow is
complementary to violet, red

complementary to green.
is
too
the
overall chromaticism of the

painting. For this reason
advisable, during the
it
is
initial
in mind
be developed using the complemen-
painting,
to
which areas
it
of interest.
scape depends on its composition and the chromatic balance

employed. The development of
the painting also
bear
will
tary colors; for example, the
In this
clearly
flowers in the landscape.
it is easy
few touches of
observer. Therefore,
field full
of poppies that has
painting
how the
we can see
artist attracts
the observer's attention thanks

to the
play on
color.
field will
draw
to that area, thus
become
the center
F^ver and
I^^^^^^PI
Wild
Pond Veaeâtion
Landscape
Flora. Integration into the
Reflections on the Water
Superimposing Planes
In a landscape, the flowers

can create a totally separate
plane
we
if
are not careful to
them
integrate
into the overall
begun
painting. After having

the painting,
it
is
important to
avoid creating planes of com-
plementary colors that will

tend to distract from the overall
landscape, particularly in
the flowers. Therefore,
it
is of-
ten advisable to pre-mix the
colors on the palette in order

to
create planes that harmo-
nize with
one another.
Observation and
Blending
Within any landscape paintis no single tonahty or
dominant color, but a multitude
of hues that represent certain
ing there
In this composition, the
planes are
The fore-
clearly differentiated.
ground stands out thanks
to the
flowers and grasses (see details),
and becomes integrated into
the
landscape by being superimposed

on the blended area.
object reflected. The distance
between the object and the

observer is occupied by the
atmosphere, which acts as a

fflter, reducing the intensity of
color as it recedes into the
background.
This Alter acts in different
ways depending on the intensity of the colors and the distance between them. In a
landscape, the greens take on
a bluish tinge in the distance,
warm
while
painting by Edouard Manet,
The Poppies, the plane forming
the mass of colors is superimposed
on the horizontal background.
In this
less
Points of Light
highly
In this
landscape, Van
Gogh
has painted the flowers as
Composition of the
small luminous points
superimposition of
planes in the above
green wheatfield. The flow-
painting.
among
features of the terrain.
If
we start
in
ing brushstrokes stand out
the long yellow and
a field,
the lighter
areas should tend toward ocher
while an increase in the intensity of the
suggest
greens with blue

tall
when
they act as complemen-
and other
red flowers can be seen at a
great distance and in the
painting can be represented
by tiny brushstrokes stretching
Lilacs, daisies,
Edge
are
especially
tary colors. Poppies
wheat.
Vincent Van Gogh,
become
Flowers
colorful,
green brushstrokes of the

with an entirely green area, for
example
colors
distinct.
away
to
the
horizon.
and white flow-
ers are only visible in the

of a
Wheatfield with Poppies and

a Swallow (detail)
fore-
and middle ground, and
tend
to
cede
into the distance.
disappear as they re-
will
grasses and a sen-
sation of lushness.
Reference Points and

Light
when Painting
Flowers
MORE INFORMATION
Light
reflects
off
objects
and returns to the observer

bathed with the color of the

ference between planes) p. 32
(dif-
REFLECTIONS ON THE WATER

A landscape offers many possibilities when painting reflections that appear on the water. On
more important than the landscape itself, and these reflections
depend on both the technique used and the approach the artist chooses.
The most popular mediums for the landscape artist are oils, pastels, pencil, watercolors, and
occasions, the reflections are
tempera. Each has
its
particular advantages
when rendering reflections on the water.
The Incidence
Waves and Reverberation
of Light
of Light
The direction of
changes the texture
On
light
and
all
color.
The
the col-
its
intensity
own
flects off the object scatters in
objects,
those that are
particularly
flat
and hghter
Incidence
Positioning of
reflections distort the form
the reflections
of the objects.
of objects
depending on
Double Perspective
distance from
the water.
The observer's viewpoint

can change the position of the
the de-
reflection of the object. Let us
imagine a plane divided in

two, with the lower part a reflection of the upper part. We
of the reflection.
then locate a vanishing point,
Water
is
is
an ideal surface for
depending on the distance
of
and the po-
the object from the riverbank.
sition of the object reflected
The reflected part appears

smaller because the plane of
reflecting objects,
depends on the distance it is

from the water and other objects in front of
fall
of water, the
gree of inclination of the ray

of light and its intensity will
be determined by luminosity
in value.
the
currence), the ripples follow
On any surface
directions, reflecting off
other
by
tiny
with
which we see the object depends on the luminosity of its

color. The ray of light that reall
produces
of a leaf
ors of the chromatic spec-
trum, reflecting only
surface of water, a
flat
waves
moving out in a repetitive and
circular pattern. Seen from
above (a fairly uncommon oc-
forms of the different objects.

When light strikes an object,
the object absorbs
small ripple caused
it.
the land hides part of the re-
on the water.
planes produce
the same effect and superimposing them follows the same
law of distances.
flection
Different
La incidencia de un rayo de luz

sobre un objeto opaco
devuelve tan solo el color
que le pertenece, Pero en una
superficie transparente se
devuelven casi todos los colores.
Vincent Van Gogh, Raised

Bridge and Carriage (detail).
A Synthesis by Van
Gogh
Synthesis
in
painting
is
beautifully represented by
the reflections seen

tail
The
ries
of
Van Gogh's
artist
of
in a
de-
painting.
has painted a se-
lines
that
vary
in
tone, increasing the intensity in the
areas that include
the reflection.
Wild Flora. Integration
Landscape
on the Water
into the
Reflections
Mountains
Reflection in
Still
Water
Unless it is a small pond,

water is rarely totally still, so
the mirror image it reflects is
seldom perfect, usually distorted by tiny movements on

the surface of the water.
When painting reflections,

the
most
brilliant color possible
should be used.
the laws of physics
and spread
out in perfect circles.
However,
seen from the shore, the laws of
This sequence
perspective spread the ripples
artist
elliptically,
and
that
how
is
these are to be represented.
shows how the
paints the objects reflected
on the water, distorting the
image and intensifying

and the shadows.
the whites
Variations on the surface of
become
the water
points of
light that distort the reflections
of the objects.
It
requires
In this painting
skill
capture the reflections dis-
to
by Lorraine, View
from Monte Mario,

the reflections appear on
of the Tiber
by these ripples. The reimage shifts slightly,

and should be painted using
still
torted
water.
flected
Synthesis in the
Reflection
the brightest colors available
on your
palette.
Watercolor painting
al-
is
A reflection on water should
more delicate, and

should be taken into account
when drawing the subject in
ways
pencil.
be understood as
a synthesis
upon oband the space they occu-
of the effects of light
The
darkness upon
objects, together
jects
effect of
reflected
py plus
their various
extremes
of reflected light.
with the current of the water,
Shadows
in Reflections
The hght
that strikes objects
produces a distorted image

which in turn highlights the
whites and the shadows. Note
returns to the observer filtered
how
by
in the
the atmosphere.
However, when an object

reflected on the water, the
is
taken into account

sequence of paintings on
this is
the center column.
fil-
tering effect of the atmosphere

IS
significantly increased
This painting
by
of the synthesis of reflections.
water, which intensifies the
shadows and darker colors
by Joaquim Mir, The

good example
Irrigation Ditch, is a
the filtered reflection from the
of
the objects reflected.
watercolor composition,
showing a
Reflected objects appear
darker in the water.
MORE INFORMATION
River and
variety of reflections.
70
MOUNTAINS
One
of the
most important subjects
in
landscape painting are the mountains. These majestic
forms against the background often dominate the composition, blending into the clouds or
the blue of the sky.
They are frequently the main subject
of textures (rocks,
cliffs,
valleys).
of the painting, with their variety
Compositional possibihties include the mountain as
subject or a landscape painted from atop a mountain.
and other elements
Color in Winter
in
the
landscape.
This season
range
demands
a cool
of colors, particularly
whites and blues for snowy
landscapes.
Mountains are one of the
nnost important features in
landscape painting.
Color Influences
According to the Season
certain harmonic range
is
de-
pendent upon the season

the
year.
mountain
by the
is
painting
of
of
the most affected
changes in
weather, because of extreme
changes in temperature at
different
creating contrast. For
tial in
example,
in
scape,
the
warm
tones
snowy land-
contrast
of
tree
to intensify the
Variety of Palettes
colors,
however, should not be excluded in that they are essen-
tends
In landscapes, the use of a
Warm
Any palette of colors can be

used for mountains, depending
on the type of mountain and its
surroundings.
the
A rocky mountain landscape
trunks
calls for a split palette of col-
of
coldness
ors, including the
of the snow.
cool
case of watercolors,
winder landscapes require
careful apphcation of washes
when developing the con-
palette
In the
trasts
between snow,
sky,
is
warm and
made up
mentary colors
of
spht
comple-
set out in equal
and
proportions
including
white. This allows for the use of
neutral color for suggesting

the distance, texture,
Mountain landscape painted with

the neutral range of color.
ranges.
color
and color
of the rocks.
high altitude.
A landscape
that is
predominantly
warm.
The cool range

is most
suitable for winter
landscapes.
ClF
is
especially
painting
distant
mountains
woods.
and surrounding
A warm
palette, including
ochers, yellows, and browns
is
perfect for arid and hilly countrysides.
a few of the alternatives avail-
snowy landscapes
able. Obviously, a landscape
in watercolors,
plays the most

important role.
for
These suggestions are only
When painting
the blue range
cool palette
suited
of colors
-'fîV^^
can be interpreted in any way

the artist chooses, even monochromatically.
Reflections on the
Water
Mountains
Wooded Landscapes. Shadows and Lights

Groups of trees turn
green expanses, which
vary as to species of trees by
the use of blue greens and
tures.
into
yellow greens, while
meadow
areas can be painted in ochres
and umbers.
When
A predominantly cool landscape.
mountainous
land-
emphasized by the inclining

of
appeared. The few shadows
The cool colors increase
more
in the
distant planes.
is
planes, which also soften the
character
warm
notes having practically dis-
scape, the overall volume
vertical
even
is
becomes
almost totally cool, any
Creating Volume
In
the distance
greater, the color
Depth
is
created by a changing
relationship of the forms
and
the color.
the
mountains themselves. Nearas rocks or
by elements, such
trees, are painted after study-
ing the light and shadows cast
by these
objects.
Because
these elements must be paint-
ed on the sloping face
of the
Warm
mountain, highlighting them
colors play an important
role in the middle ground.
with different colored outlines

will help "plant" the
forms on
the mountain.
The more
distant the
tain, the less
moun-
individual ele-
ments need to be defined, as

the overall view is what is most
important.
Distance Weakens the

Colors
Distance tends
the colors
to
weaken
and soften the
tex-
The warn\ areas of the foreground

become cool as they recede into
the background.
remaining should be created
Background and
using tonal variations of the
Illumination
same
bluish color.
The Resurrecchooses to use a
In this detail of
tion, Bellini
double play of
light for repre-
senting the nnountains
in
the
background. The foreground
uses luminous colors, as

does the sky, while the
mountain is backlighted and
emphasized through the use
of dark
MORE INFORMATION
browns.
Different planes
and depth
p. 76
94
WOODED LANDSCAPES.
SHADOWS AND LIGHTS
A forest seen from within has always been mysteriously attractive to painters;
light
the play of
through trees and undergrowth, sometimes resting on hidden forest clearings,
provides the
artist
with infinite creative opportunity.
Painting a forest requires the use of one's compositional imagination.
Different stages for painting the light
between
the trees:
Light Filtering Through

the Leaves
The palette necessary
for
painting a forested landscape
requires a wide range of light
and dark colors in order to

emphasize the chromatic contrasts produced in the lighted
and shaded areas.
The composition of a forest
landscape should be centered
on the interplay of lights and
shadows that define the masses of fohage. The most important
tree
correctly
cording
to
should be
proportioned actheir distance from
trunks
the viewer.
1.
The background
is arranged by
2.
The planes
that
3.
color
may include points of
areas, particularly in
light
the
Tonal gradations
for creating
volume
are added.
are completed.
upper part.
Backlighting and
How to Paint Light
Shadows
Between the Trees
When the background has

been completed, the area requiring the darker and more
Framing or boxing distributes the masses within the

framework. The recommended
approach is to follow stages, as
if working with consecutive
intense colors such as the un-
dergrowth and the treetops

will
become apparent.
these
closer
In
The light filtering through

branches and leaves often
planes.
painting
forms patterns that can produce the effect of backhghting.
painting,
ments one should leave larger empty spaces than actually

exist because they can easily
be painted in later on if nec-
The colors are
composing of a
one should first concentrate on the background by
using dense, dark colors in
broad brushstrokes to indicate
the foliage. Spaces should allowed between the strokes to
mixed as
admit the
the
light filters
through the
trees.
In the initial
Once
essary.
light.
the
background
is
completed, the more distant

planes are painted with their
The sketch
distributes the
main areas of
light and
lighter tonal gradations.
GustavKlimt, Fruit Trees.

clear that the intense
It
is
background
Study
ele-
the
three
stages
color prevents the landscape from
shown above
stretching into the distance. Only
practical grasp of this subject.
to
acquire
shadows.
the size of the tree trunks suggests
depth.
The dark areas

have been
increased and
the whites
reinforced.
Backlighting
is
obtained by
positioning objects
or trees
in front
of
the source of light.
Mountains

Snow on the Mountains
Shadows and Tree Trunks
Landscapes
in
Pure Color in Landscape

Painting
wooded
In
area,
the
branches, trunks, and leaves

of the trees are intermixed. If
the structure followed in
your
drawing is corand apthe color should be
initial
the painting
rect,
proach
to
fairly simple.
Now
that
both the back-
Pure colors can be integrat-
ed
into a forested landscape,
particularly
in
areas of maxi-
darkness or
nnal
light.
Apply-
ing a pure color, just as
comes
out of the tube,
maximize
contrast
used with
Its
it
With pure color and flowing
will
and
be achieved.
brushstrokes, shadows, lights,
when
contrasts can
complemen-
tary color.
ground and the treetops have
been put in, the tree trunks

can be added to the landscape
after defining the other
different planes.
used
is
If
sufficiently
trunks can be
weakening
their
brillance.
be ap-
the green
Points of hght should
deep, tree
plied only after the other col-
added
in the
ors have dried.
you should
Some brushstrokes are
background, always using

darker colors, and bearing in
ways
mind the reduction in size

due to perspective. The clos-
lightened once they are ap-
er the elements are to us, the

fewer the number of trees
and the larger they become.

While the trees in the background are formed by nargreenish brown
brushstrokes, the colors in
the foreground should be
warmer. There is no beginning or end to these forms;
they emerge from a base of
row,
flat,
and grass in the foreground that can be painted

last. The tree trunks should
disappear above into their
own leaves and branches.
In watercolor
start
al-
dense and pasty.
with lighter colors,
as darker colors cannot
be
plied due to the transparency

of the
medium.
Using Pure Color to

Create Contrast
Pure colors can be integrat-
ed into
wooded landscape
as
areas of maximal darkness or

light.
Applying
pure color,
thickets
Development of the structure of

the trees both in the background
and in the foreground.
Smear
with brush holding only a
small amount of paint.
Specific Brushstrokes
for the Points
of Light
Once
the
scape
has
forested
been
land-
entirely
roughed-in, concentration on a
logical
approach
areas
required.
In
is
order
to the light
most
il-
luminated sections of the landscape, the colors used must be

light in value,
while avoiding
the use of white as

possible. This
tends
to
is
much
it
the intensity
colors can
example, most
be Ughtened by the
addition
of
of colors. For
yellow
plementary color.
TTiese brushstrokes build
up the
foliage in the foreground, while

the
background shows through.
as
because white
weaken
comes out of the tube,

maximal contrast
when placed next to its com-
just as
will create
to paint the
without
MOREmrORMATION
Chromatic evaluation and the surrounding atmosphere p. 40
F
TECHNIQUE RND PRACTICE
SNOW ON THE MOUNTAINS

Mountains are often covered by snow, which
it
provides
The way
in
is
theme
which snow
is
an excellent subject
that
may be
treated presents
for
is
especially attractive to the landscape
artist
as
interpreted in broad terms or with a specific focus.
some
exciting challenges. Artists, therefore, find
it
experimentation and interpretation. In a snowy landscape the
understanding of the use of space and the hues of luminous colors becomes
defined through the use of
shadows.
Useful
hues
are
all
important.
Tonal Variations of a
Snowy Landscape
ochers, grays, blues, or greens,
while white should dominate
most of the surface.

In
Although snow is white, it

possesses an extraordinary
number
snowscapes painted in water-
snow itself is not painted;

only the shadows and bare earth.
colors, the
of tones.
Color as a Shadow in
the
One
side of a
The white of snow can
Snow
accommodate
tones from the
Different
Hues
of White
When working
The palette used for a snowy

landscape is not confined to
white. The representation of
volumes and the richness of
hues inherent in snow cover
the entire chromatic range of
the palette the artist has chosen.
Snow
reflects all the col-
ors that envelop
it
due
is
important
to
it
enlarge your
range of colors.
The snow changes tone according
to
variations in the
topography of the landscape.

The reflections of the sky and
nearby woods also influence
the
tonalities.
An
medium for painting snow-covered mountains

as
its
is
watercolor,
transparency offers a
shadows
particularly
in
shadow
areas and
order
achieve
in
to
contrast.
of the terraced
land or other land elements
may be applied
When
afterward.
the watercolor
is
dry,
other elements can be intro-
duced using darker tones.

Working with oils is somewhat easier, because of the
opaque nature of the paint and
its
excellent
elements,
pure white is
achieved by utilizing the
bare white surface of the
paper. A snow-covered ex
panse can also be painted in
the dominant color of the sky,
a bluish gray, for example.
With this watered down color,
color,
the
to its
colorless purity. Therefore,
sky and other
in water-
Dark areas are never purely

They acquire a bluish
hue as a result of the reflection
black.
of light from the snow.
abihty to completely cover
over earher work when making corrections. White, of

course, must
be painted
on.
snow-covered mountain may

be in the light and the other in
shadow. Shadows cast in the
snow are
wide range of different hues.

The surface of the snow
closely follows the topography
of the land beneath it, and is
of a cold blue-violet
color due to the reflection of

the sky. Note that a
little
red
can provide a touch of warmth

to a cold shadow. The illuminated face of a mountain alternates between hght umbers
Color paints snow in reverse.
and ochers, becoming less

distinct as the mountain recedes
into the distance.
The
different tonalities of a
snowy mountain are usually

varied.
In oils, white is
mixed
with
various tonalities tor the
painting of shadows.
The
artists
usually
leave blank areas representing pure white.
Snow on the Mountains

and Depth
Different Planes
Snow on Trees
pencil sketches of the land-
scape
Snow on
mountain takes
on different
tonalities that de-
to
be painted
will
help
define the value variations
to
of the
shadows
snow.
in the
and
Pencils of different hardness-
shadows of a terrain. The effect

of snow on the trees alternates
es are useful, such as a 6B for
with the dark section of the
tones,
fine the specific character
deep
The whites of the snow are expressed
by the empty areas withm the color.
branches and leaves.
Snow can be painted as masses of color, or, as in the case of
through an ab-
watercolors,
Both on the land and on the
snow
of the branches.
eraser can be used
to
pick
by opening
white areas where grays preout
highlights
dominate.
different tonal variations.
the
of
will
medium
for soft grays, a 2H.
trees,
Also bear in mind that the
weight
and
snow is always defined

by the shadows created by
sence of color, especially on the
upper part
An
blacks, a 2B for
bend
branches
down and this effect should be
the
anticipated
when
organizing
the
picture.
land
same
snow on
the
In
way
that
is
mostly
Snow and the

Gradation of Grays
defined
through
In this
shadows, with
trees, the shad-
ows are
by
cast
round it. Any color can be

used in a snowy landscape
provided it falls into the chro-
the nearby
branches. This should be paint-
ed using Ughter tones the

ther away the branch is.
fur-
matic range surrounding
only
for a
Snowy
As you can see,
there are no pure whites,
The Grayscale
The Palette
Landscape
Maestro
we
can
see Saint Anthony in the
midst of a snowy landscape.
it.
panel, del
deirOsservanza,
in Tonal
tonal
bluish grays.
variations
of
The gentle
gra-
dations of grays are a per-
Gradation
fect exannple of the
One way
Snow, as such, does not
have a specific color, but is a
of
understanding
synthesis of the reflections of
masses of tones that make

up the snow is by lightening
the tones of the shadows in
objects and colors that sur-
the landscape.
wavy
forms of snow.
the
series of
Snow does not have

color;
its
its
own
tones are reflections
of the colors in the landscape.
^::P^r&
MORE INFORMATION
Mountains p.70
Gimate and color p. 84
DIFFERENT PLANES AND DEPTH

depth is created by applying the laws of perspective or
by superimposing planes.
Superimposing planes in a landscape was used in Oriental painting, long before the
Renaissance perspective made its mark on the history of art.
Linear perspective is achieved through the use of two or more Hues converging at a vanishing
In a landscape, the illusion of
point on the horizon. Depth in a landscape
is
also created
by superimposing rises
of hills
or other elements off into the distance. The hghtening and blueing of colors in the distance
is
another method.
Chromatic
Description of the
Foreground, Middle
Variation and
Ground, and Background

Depth
landscape
Distance
is
The subject has a
highlighted by superimposing
certain depth within
in
different planes.
The nearest
the
landscape,
in
of the
due to the horizon line and in part due

to the artist's viewpoint. Depending on these two factors,
the sensation of depth created
can be quite effective.
The space that separates the
horizon line from the observer
can be divided into as many
planes as are required. Each
or
line of objects,
plane, or foreground,
is
the
part
Layout
object closest to the observer.
of the
Positioning this plane includes
superimposition
and the definition of

used in the
foreground should never be
pale in color; therefore, any
gradations must be painted
of planes in a
details
textures. Colors
theater set.
using the fairly intense colors
same chromatic range

complementary colors,
bearing in mind the new colors, mixed in the eye, this
mountain
middle
forest,
in the
background,
estabhshes a different plane in
might produce.
The
such as a
a tree in the foreground, or a
ground de-
the painting.
The artist's palette must be

adapted to each of the planes,
because as the planes recede
scribes the general planes,
extend beyond the

foreground, and can contain
specific forms such as trees
and houses (though not in
great detail). Objects in the
which
Sensation of depth produced

the wings in the theater.
by
into the distance, the colors
fade due
middle ground, seen from a

vantage point, tend to diminish according to the distance.
In this
plane the col-
ors should
_;
strong,
too
be
fairly
background
the forms are seen in

a more general way,
where only the large
shadows stand out,
blending their color

with whatever chro-
matic range
used.
The warmest colors tend to

become pastel-like when mixed
with white in an opaque technique, and more transparent in
but without
much variation.
In the
to the effect of the at-
mosphere.
is
being
Tonal distribution of planes in

workbyEmil Claus, Beside
the Road.
the
Snow on
the Mountains
Different Planes
and Depth
Sunrise and Sunset
Between
Relationship
tiie
Horizon and the Sky

between
the relationship
In
the horizon and the sky, the
Each plane has
its
own
tonality.
chronnatic
limits
tance are
rarely
fined.
water-based paints with the

addition of water. Cool colors
will often appear brighter and
will tend to be more homoge-
^^^^^,
^__
L^^î^HpHî^
I^HBJI^^^^^^ Jj
^j^^^^^^^ftra
neous.
There
is
the dis-
of
clearly
de-
meeting point
between. the two that can be

defined by the colors used.
The solution is to gently blend

the area between the background and the sky, while at
the
same time
dividing
them
through the use of color.

soft-haired
used
The Atmosphere as a
Watercolors allow the
Filter
troling the effect
The color of the objects,

and therefore of the landscape
itself, depends on how the
light strikes them and reflects
them toward the observer.
Thus,
if
brush
is
usually
for blending colors.
blend colors on a wet surface, con-
artist to
with a piece of blotting paper.
Watercolors allow gentle, gradated blends of color between the
masses
that
form the landscape and the sky.
there exists a fiher be-
tween the subject and the

artist, the color will change accordingly. This is why dominant colors used on the
palette, whether they be cool,
warm, or neutral, play a similar role on the canvas to that
played by the atmosphere in
the landscape. Choosing a
particular chromatic range is
necessary in order to create a
desired atmosphere.
A cool chromaticism will

ways seem
ground.
al-
lighter in the fore-
Also,
some warm
always
add
colors to other-
wise cool atmosphere

distance.
The atmosphere
is
in the
used
Using the same principle,

colors, such as red and
yellow, can be included on a
tively
warm
distance of certain objects.
cool palette.
when mixed with white become pink, which can be
Using White and
ocher or umber.
to establish the
Certain colors such as red,
avoided by mixing
in a little
Perspective
In
too
opaque
much
paintings, using
white always means
that part of the luminosity is lost.
Colors should not be lightin order to
ened with white
create the effect of distance.
same mistake, which can

produce undesirable results
in certain cases, can be effecThis
present between the landscape and the observer,
acting like a color filter.
White has been used here
to
create an atmospheric effect.
MOREmrORMATION
ference between planes) p. 32
Detail
and perspective
p. 54
(dif-
SUNRISE AND SUNSET

Landscapes display
different aspects of nature during
any season of the year or time of
moments throughout the day when

desirable way; so much so that occasionally the
day. All landscape artists are aware that there are key
the sun illuminates the landscape in a
luminosity of the sky
becomes
the
the artists to represent the precise

last
only a short time, so the
main feature
moment
artists
the
of the painting.
they have chosen
must use
their
moment on the
Using the right colors enables

Both surunse and sunset
to paint.
memory to
recreate the splendor of
canvas.
The
light
comes
Sunrise and sunset are spectacular
at an angle in this
cloudy afternoon scene.
nnoments of the day due to the

luminosity and the chromaticism
in the sky.
From the Chromaticism

of the
Sky
to the
Application of Color
There are many moments
throughout the day for painting
skies, yet sunrise
and sunset
moments for capturmoment with color.
are ideal
ing that
The color
sky can
of the
vary enormously, depending

on the atmospheric conditions.
A clear sky during the daytime
is painted using tonaUties such
as cerulean blue, white,
cobah
Sunset or sunrise offer a wide

range of possibiUties to the
landscape artist.
later on.
that
saturated with
all
the subtle
occur in nature.
Color saturates both shad-
ows and highlighted
When
medium
colors.
However, no photo-
graph can capture

hues
W. Turner. St. Gregory Seen

from the Customs House. A sky
areas.
constructing the layout
of a painting,
it
is
important
to
indicate the brightest areas
shadows.
should be quickly evaluated,

assigning tonal values to each
area of the picture. If the hght
is coming from the lower
right
hand
side, the
shadows
corresponding to objects and

land features should be immediately added according
to the direction of the hght
blue, and, in certain cases, red
and the
or umber. These colors take on

additional hues as the sun goes
Once the subject has been

drawn in pencil, the artist
reds and yel-
should outline the parts of the
light has
lows, together with cobalt blue
be
that
will
landscape
touched by the sun's rays.
These sessions commonly
into the painting, the artist
the sky will influence the col-
take several days, requiring a
area, including the effects of
ors of ihe landscape.
return to the spot
same
the light in the sky, the play
down, so
that
should be added
to the
other
colors. Naturally, the effect of
darkest
time each day
The Importance of the

Moment and the Light
Because sunset and sunrise
last
only a short time,
it
is
to
at
the
maintain a
consistent palette.
Comparing Values and

Highlighting th e Whole
source.
can then experiment with the

right chromaticism for each
on the horizon line,

and the gradation toward
cobalt blue in the upper part
of reds
(if
the source of the light
is in
front of the painter).
All the values of the paint-
advis-
When paintmg
able to photograph them so that
they can be used as a reference
Once the effect of the

been incorporated
at
a landscape
dusk, the entire subject
and chromatshould be compared with
ing, both tonal

ic,
Different Planes
and Depth
79
Sunrise and Sunset
The Sky and
Its
Color
Seurat and
the Evening
Seurat, the great
and
theorist
painted
artist,
study with
this
his intricate tech-
A simple layout for locating the
nique
masses of color.
and capthe
tured
the whole, so that
if
the
vibration
illu-
colors
mination of the sky changes,

this will influence the shad-
ows and the luminosity
Sunday Evening on the

Grande Jatte. (detail)
Seurat,
Isle of the
dusk.
is
sharp contrast
of light
ows, although both areas are also
at
Note that there
of the
objects.
of the
and shad-
rich in color.
Monochrome Sketches
and the Center of Interest
most important
part.
painting a landscape
One may
theorize
landscapes, but practice
about
is
the
at
When
takes on a large
dawn,
ferent hues.
very helpful to make

sketches
to
achieve a tonal synthesis. The
different grays will indicate
the places of maximal light,
and those that require the most
it
is
monochrome
attention.
stick
flat
of
graphite and a notebook are
First,
with
the canvas is painted
warm
colors.
^m
sufficient for this
work. Hold-
ing the stick
indicate the
flat,
composition quickly by twisting it on the paper. The grays

of the darker areas can then
be suggested, plus a gentle
gradation in the sky
the area of
maximal illuminais quick to work
of dif-
light source, the
become
saturated with
reds and yellows, and the

horizon line takes on an or-
angey luminosity that is offset

by the gradation toward
cobalt blue on the upper reIf
the hght source
swings around 30 degrees or
so to the left, the sun will have
disappeared, but the combi-
gions.
nation of violets, reds, and
yellows will show through on

the objects
and features
of the
Objects can often be

more easily distinguished in
terrain.
with and the grays are easily
phase as the light comes

from the side and ends the ef-
produced by varying
fect of backlighting.
tion.
The dark blues dominate
to indicate
Facing the
clouds
number
Graphite
the pres-
this
sure applied to the paper.
the tonality of dusk.
Tonal Gradation
of the Sky
The
light
<
from the side affects
the color of the mountains.
During the time the sun is

above the horizon, the sky
A monochromic representation
of
a landscape allows for greater

objectivity
and provides
guidelines for studio work.
The sky is enriched by

contrasts on the horizon.
MORE INFORMATION
The sky and its color p. 80
Sunset saturates the colors
Depth and color p. 82
THE SKY AND ITS COLOR

One
of the
most important elements
in a
landscape and the source of Ught
other elements in the subject
Sometimes
bright, other times tinged with storm tones, the
each painting
in
landscape reflects
in a different
way and there
is
and
for forests
the sky.
is
theme
no formula
of the sky
for painting
it.
to a great extent the painter's artistic capabihty, since the
the elements that the realist painter uses to demonstrate
all
is
dealt with
The sky
sky
is
in a
one of
his or her ability in chromatic
blending and color mixing.
M.
These
-v
celestial colors con-
many warm and
tain
cool
depending on what season of the year it is and the

tones,
time of day.
to
It
is
recommended
always mix your colors on
the palette so that
you control
the resuh before you apply
them
A study and composition
of clouds.
to the colors
on the can-
vas or paper.
to be uniform in color,
and a mix of cerulean and
appears
white could suffice to cover
colors of the
it,
without the need of any chro-
Executing a landscape outdoors

allows the artist to capture the
Influence of the Sky on

the Landscape
matic variations.
moment.
As the sun goes down, we

can add a touch of cobalt
to our palette for applying
The Color of the Sky

According to the Time
in the highest areas, plus a
of Day
tiny
amount
of pinkish
and
orangish tones for the horizon.

In a clear sky, the chromati-
The light that originates

from different objects is the
result of the reflections from
stronger light sources. The
sky above a landscape is
nothing less than a reflection
in the atmosphere of the hght
cism varies throughout the

day, ranging from cerulean
blue to a deeper cobalt blue,
and, depending on the sunlight, this blue can tend toward
received from earth. For this

reason the sky and the earth
take on an identical chromatic
white, yellow, or red.
specific
When
above
the sun
us, at
is
unity.
The
directly
midday, the sky

Integrating the sky
A midday sky.
and landscape.
predominance
harmonic range
of
in the
sky influences all the objects

in the landscape. If the sky is
painted in gray colors, this
same tone will reappear
even
est
in the bright-
areas of the
landscape.
Any
alteration of
a harmonious chro-
maticism involving
the
sky
earth
and the
beneath,
such as painting a
bright sky over a
dark landscape, or
a cool landscape
with a sky in which
At this time of the day, the maximal

source of light is directly overhead
and, accordingly, the
shadows are
diminished.
Sunrise and Sunset

The Sky and Its Color
iJepth and Color
81
Light Establishes the

Clarity of the Whole
The clarity with which the elements in a landscape are defined depends on how much
light they receive and the distance they are from the painter.
A clear midday sky enables the
artist to paint a landscape in
which the visual limitations are
determined by the planes between the horizon and the fore-
The tonality of the sky can be

recognized m the reflections on
the ponds and puddles. There is a
chromatic unity between the sky
and the landscape.
ground. In
warm
colors predominate, are
the result of the artist's imagi-
Dusk
nation and have nothing to do

with the laws of nature.
this case,
(detail).
he or she wants
it
is for
how
painter to decide
Giorgione, Landscape at
to
the
clearly
define cer-
tain objects as the center of at-
The Color of the

Afternoon
tention
more
by emphasizing only the

and
interesting elements
leaving the rest less finished

In
Painting Skies
this
landscape
knew
Giorgione
There
no such thing as a
single technique for painting
the sky, because it depends
on the taste of the artist. He
or she can use a soft wide
brush to apply a broad flat
tone. Mixing the chosen color
with white, the artist begins
to
well
how
at dusk,
perfectly
is
and color by adding

some blue tones in the
lights
background and some subtle
orange
in
the lowest part
blending
when
there
is
clouds, elements
such
fog or low
beyond
the
middle ground become almost

indistinct owing to the reduction
and the background
planes and elements must be

painted more fuzzily and using
a
maximum
corresponds
the
with the previously

painted areas, while leaving
the underlying layer partially
visible.
Several
reddish,
hardly perceptible tones are
added in the lowest areas
and are then blended into the
background. The violet colors are added to the higher
areas and are then softly
blended, so that they do not
as
brilliance
ing the horizon with sweepstrokes,
distinct).
In other circumstances,
of hght. Distant colors lose their
of the sky.
tone the entire area adjoin-
ing
(and therefore less
to use the play of
of the color that

to the overall at-
mosphere.
paint
attract too
much
attention.
On
the
On
left,
gradated with
the right,
the addition of
turpentine
white, the
color becomes
creates a trans-
parency
opaque.
that
enables glazes
to be developed.
Warm and violet

added
to a
tones must
Painting an atmospheric
color blend.
be
gradation of the sky.
Blending the sky with a part of

the mountain color.
MORE INFORMATION
Different planes
and depth p. 76
Sunrise and sunset p. 78
DEPTH AND COLOR

Sometimes, when you look
such as a
at
the horizon,
it
is
possible to draw clearly differentiated planes
line of trees, a series of hillocks, fields of crops, etc.
elements are not found in a series of successive planes.

will
see that planes as such do not really
colored mass estabhshed by the painter
and its value, according to
exist,
If
at
landscape overall, you
but are merely a reference in the form of a
use as a guide
to
distance, can also
However, frequently such
you look
be a
when composing the painting. Color

when determining the planes.
factor
green
and
ochre
on
take
bluish and violet hues, while
pure greens are mixed with
ul-
tramarine blue as the land-
scape
recedes
distance.
Warm
into
the
colors
like
reds and earth colors take on

Before
The
effect of atmosphere
on
to
atmosphere, you must

first apply the local colors
without the use of white.
Atmosphere and
ing of course on the density of
the Palette
the atmosphere at the
A pure
recede
undergo al-
All colors, as they

into the distance
due
paint the
effect of the
the subject.
terations
commencing
to the
lean as
it
moment.
appearance
the
of
having
been mixed with white and
touch of blue. Dark greens
in
the
shadows gradually be-
come grayish greens with violet
hues.
white turns to ceruloses
its
briUiance,
Painting Planes
Through Clouds
existence
of the atmosphere.
The procedure consists
of
change
gradually developing clouds
the way in which colors take

on a bluish tone. The reason
against a sky by blending in
The most
significant
is
jects pass
it
is almost
opaque. The top of a cloud always appears denser and
more opaque. The farther
away the shapes are, the
more undefined they become, to such a degree that
the color until
for this is that the colors of ob-
m^
through a layer of
and reach the
the atmosphere
viewer with a greater saturation of the color blue, depend-
Three
tonalities indicating three
planes.
they often appear

.
<
The foreground, on the
The golden section derives

nnathennatical
ancient
from
studies of space in the quest
\
V
for a perfect proportion. This

of dividing a
space up
es of color and shapes on

since
It
is
effective for weighing the
a plane.
It
is
mass-
not difficult to understand,
consists of dividing the surface of a painting by taking into
account the measurements of the canvas (height and width). This
from classic times, enables the painter to

harmonious way even though it may not be
a faithful reflection of reality, In addition, it helps you to understand the most logical way of positioning the different objects on
method, used by
distribute objects
artists
in
merge
oth-
er hand, must be devoid of
system
to
with one another.
The Golden Section

and Depth
the different planes according to their esthetic balance.
whites and the forms should be
well contrasted
by stressing
The colors begin
to
blend with
the white but without breaking
up the forms.
The Sky and Its Color

Depth and Color
CUmate and Color
83
density of the clouds, they generally
blend
into the surround-
ing atmosphere.
The General Plane and

the Elements Near the
Horizon
From
the point of view of the
Tones are heightened
observer, up to the horizon

line the successive
Some forms can be made
out in
the fog.
the light
by means
own
color,
green object
into the
distance and the location of the
other hand, the observer
The
planes.
of the ob-
forms and masses of color that
that
comprise the foreground are
will shine
when we apply
planes and
color gradations indicate the
intermediate
ject's
is,
more
paler greens,
in the
foreground.
more defined than those
in the
receding planes.
background.
standing on a
hill,
If,
on the
is
the height of
be
below the horizon line.
The color of objects ahers as
they recede into the distance;
the most distant objects will
mixed with yellow and ochre,

and the brown objects will be
highlighted with oranges, and
jects,
thus successively.
so on, tower over the observer
plane and would appear almost
when
violet in the distance.
The Clouds in the

Middle Ground
If
your horizon line
level,
you
will notice
is at
eye
how ob-
such as trees, rocks, and

they are in the fore-
ground and tend
to
reach down
height of the
to the
gradually
for instance, a
red plane
in the
foreground would contain earth

tones
when seen in the middle
A second blending of the

background.
horizon line as they recede

In
suhs
order
to
when
achieve good recreating
depth
through color, you have
bear
in
mind the
Warm and violet hues.
to
location of the
objects that appear on different
and body,
which they affect the planes behind them.
An overcast sky may take up
only one part of the painting; it
planes, their texture
and the way
is
in
not too difficult to resolve
when the clouds are high up in

the sky, but when clouds cover
ground and
background, the challenge of
part of the middle
painting them
becomes more
demanding. Depending on the
Accentuating the contrast in the

foreground.
A landscape
atmosphere
with an accentuated
in the
middle ground.
MORE INFORMATION
Landscape composition p. 28
Different planes
and depth p. 26
CLIMATE AND COLOR

A landscape acquires a particular chromaticism according to the season of the year.
In the
fall,
and landscapes take on earth colors with some neutral greens; spring turns them
bright greens and lively colors that illuminate the scene; in summer the colors turn more
the fields
into
some
yellow,
turn darker while others
become
lighter in tone; in winter the colors of a
landscape are decidedly cool.
Each Season Has Its

Own Atmosphere
The Cool Palette
landscape always depends on the intrinsic
A landscape can be painted

during any season of the year
with any of the known harmon-
color of the earthly elements
ic
The color
of a
palette to use in each of the
ranges, but it must always

have a dominant, basic color;
something that is determined
by the subject itself.
The harmonic range of cool
four seasons.
colors
and the intensity of the sun.

These two factors are fundamental
for
understanding the
Each season has
its
own par-
and
color. If the painter is aware of
the color effects of each season, it will be easier to paint a
landscape and give it the apticular temperature, light
observe the
character of the place to be
artist
has
to
painted. In a dry, drought-rid-
den
climate, the predominat-
ing
colors
earth tones
would comprise
mixed with ochre.
same landscape after a

would require the palette
take on some greens. Like-
This
rain
to
wise, the atmospheric color of
employed
for cold
nonetheless,
does
mean
not
that
that
warm
colors are automatically ex-
cluded, providing that they

don't
Winter landscape.
come
into conflict with
the dominant tone.

In general, the cool-colored
propriate chromaticism.
The
is
subjects;
a mountain during the dry sea-
elements of a landscape com-
son takes on warmer tones. In

the wet seasons, the earth becomes fertile, the copper tones
return, and the earth colors on
prise the sky, the foliage, the
the palette are substituted with
dency there is also a tonal relationship between the planes.

The greater the distance the
more the colors tend to green
and blue and the scarcer the
greens that acquire

darker hues as they develop
and thicken.
lively
terrain,
and the shadows. The

mind that
painter must bear in

in a
landscape of a cool ten-
warm tones
are.
Summer landscape.
Painting with a cool range of colors.
Depth and Color

Climate and Color
A Clear Sky
^
Cool hues incorporated
tree's shadows.
The
Warm Palette
Pastel landscape using the
Warm colors have their val-
warm
color range.
The Neutral Palette
humid landscapes
where there is an abundance
ue
to the
Ideal
Mediums
in hot,
of earth, or in
dry dusty land-
Mixed colors are excellent

for painting
fall
in the
seasonal landscapes; on the
one hand, thanks to their opacpermit the creation of

dense and contrasted areas,
allowing changes to be made
at any time during the session;
watercolors, on the other
colors
ties plus white.
The
result of
such a mix is neither a cool

nor a warm color, but a sub-
dued harmonious
The cool colors are applied
throughout the entire painting.
and watercolors
mediums for painting
oils
those chmatic con-
in
predominate.
Neutral colors are obtained
by mixing two complementary colors in unequal quantitral
Both
are ideal
where subdued neu-
and
ditions
landscapes
color. This
ity, oils
hand, are excellent for
fast
sketches, since their wet character enables color blends to
chromatic range can incorpo-
be carried out on the paper
rate colors from the other two
transparent washes.
ranges, both directly and in
scapes in which the sun

very intense.
Composed
of
red,
is
mixtures, since in this
way
colors having opposite quali-
earth
ties are
combined and
and brown, the

warm harmonic range of col-
neutralized.
ors represents within
its
chro-
matic
color, ochre,
The painting
thus
of planes with
wide
mixed range is carried out

by increasing the amount of
tonal range that mixes well
white for the farthest planes,
with cool colors.
along with a slight increase of
possibilities
cool colors, while in the fore-
colors
same way that cool

become cooler with dis-
tance,
warm tones appear less
nates.
In the
bright.
You can modify
the
warm
by
brilhance of
colors
adding white and pale earth

colors such as ochre. As regards shadows, they contain
hues of red in the foreground,
becoming brownish in the
more
distant planes.
ground
warm
tone domiEugene Boudin,

Dusk in Summer
Planes in the Sky
A neutral-range
landscape.
In this
study of the sky, Eu-
gene Boudin painted the

scene in pastel. The planes
separating the clouds
background are
in
the
clearly distin-
guished by the blue hues
MORE INFORMATION
and by the bright parts of the

clouds.
in
A CLEAR SKY
In landscape painting, the sky is
one of the most important elements, since
it
completely
influences the rest of the objects in the painting.

It
is
have a firm grasp of color theory
essential to
in
order
apply
to
it
correctly
when
painting the different planes of the picture. In the following chapter, you will see that
a clear sky
is
not a
flat
unbroken
stretch of color, but a series of
luminosity,
changes
in chromaticism,
and depth.
the hues you have
been mix-
ing on the palette.
It is up to
decide on whether to
apply loose sweeping brushwork or carefully blend the
new tones with the background color directly.
you
A sky palette.
to
Variety of Tones
At
first,
the execution of a
may appear to be an
easy task; nonetheless, when
Superimposing forms on a
background.
clear sky
painters begin to create a desired atmosphere for a specific
climate, they have to allot the

Different gradations of
colors required on the palette.
cool and
The colors that are used are

determined by the type of sky
in the subject, which could
tones.
Color Gradation
When you paint the
consist of the following:
A midday
warm
sky
in a
sky over a dry
landscape, be careful which
landscape contains white,

cerulean blue, uhramarine
blue, red, and Naples yellow.
In a sky over a dark green
landscape you would need
white, cerulean blue, cobah
blue, and green.
colors you choose in that the
sky usually has an influence on

all
Blending the color between the

trees
serve only those areas that you
do not wish to change too much

and might be difficult to handle,
such as the pure raw whites.
The colors for painting a

sky at dusk would comprise
After the initial color appli-
white, cerulean blue, cobalt
and yellow.
cation,
Variety of earth colors
You
uniform color, leaving in re-
blue, red,
the adjacent colors.
might begin with a pale, almost
(left
the sky. Different cool colors are
group),
shown
you may incorporate

all
of which can be used in
in the right
group. Gradated
colors are ideal for the tonal variations in the sky.
and
the color of the sky.
Climate and Color

A Clear Sky
Rain: Techniques, Chromaticism, and Highlights
Maxi mal Points of light

Between
Relationship
\X
tlie
Landscape
and the Effects of Color

In
The most brilhant areas
a colorist or expressionist painting, the
brushstroke and the color play a fundamental

role. All
the colors
in
ed to one another
manner as
the picture must be
possible. This
means
ing of paint takes place directly
and thus the sky

landscape.
In this
the
ject
and directs
artist
relationship
that the mix-
on the canvas,
take on the colors of the
will
almost visceral
way
disregards the colors
ing,
relat-
as loose and intuitive a
in
his or her efforts
work-
of
the sub-
in
based on the
between the colors themselves.

may paint a cobalt blue
For example, the artist
sky
in
order to create a contrast with a green
background, or decide on yellow and violet so

that a vibration of
occur
Van Gogh,
in
and the
jects
light
coming
from the sky, which in turn

has its own luminous variations. As the sky you are
painting gets closer to the
sun,
it
takes on whitish tonali-
area has to be
blended very carefully, gradually adding white and possibly changing the tones with
ties.
This
tiny touches of
Naples yellow,
taking care to prevent the mix
from becoming greenish.
the landscape.
Strollers in a Public
Bnishwork
complementary colors can
of a
plane are produced in part by

the inherent color of the ob-
Garden in Asnieres
(detail).
Warm Colors on the
in the Sky^
Horizon
The
can create the effect of depth in the sky by

means of color gradations
emphasized by the brushstrokes. Wide brushes are
generally used for blending,
artist
soft stroking of the
canvas,
and mixing the colors with a

barely noticeable gradation.
This type of brushwork can
also
be carried out with waprovided the paper
tercolors,
is
not too wet.
On
The horizon line is the area

where sky and earth meet. The
sky
may
changes
you want
the horizon with
trasts in
obtain the effect of a
to
summer sky, you will

have to add warm colors in
torrid
to the horizon Une.
oblique planes, varying the diCobalt

blue
of brushes.
brushstroke.
Loose
brushstroke.
Ultramarine
blue
Prussian
blue
Adding
warm
colors to blue
to
the sky creates a contrast that

its
n\ost brilliant parts.
MORE INFORMATION
Climate and color p. 84
creating both horizontal and
different styles
The intense blue color added

highlights
gradation from the upper sky
employed, adding new paint
Blending
more depth,
to
without blending the colors,
and employing
color
provide
want
even
more
brushwork can be
rection of the brushstrokes,
to
emphasize the conthe landscape. If you
or
the other hand,
resolute
some
require
if
ssJ
RAIN: TECHNIQUES, CHROMATICISM,
AND HIGHLIGHTS
After a storm colors
become
saturated; objects that before the rain looked dry,
now take on a
smooth, varnished appearance. The surface of a landscape undergoes similar changes with
respect to
its
dry
state; the
ground becomes dotted with puddles, the leaves
under the weight of the rainwater, and rocks turn
into tiny
of the trees
sag
sparkhng mirrors.
closer ones take on height-
ened browns.
All the colors
increase in brightness due to

the cleansing of the atmos-
phere.
The surface
of a
wet object
emits reflections in the form

of specific
points of light.
Their tonality and brilliance
depends on how wet the obis and on the porosity of

its surface. The highlights of
ject
On humid days,
trap water
tree leaves
and luminosity
increases.
Saturation of sky colors reflected
on the water.
Chromaticism and
Highlights
Whenever an
comes
wet,
purer, that
its
is,
its
becomes
leave white.
local
that
emphaand
color
way to
it
and
gives
the weight of the water;
with the exception of ever-
green trees, the foliage of

most trees appears to sag
slightly under the weight of the
Effect of Wetness in
the Trees
the water. These effects are
A landscape appears to
change after a storm. The trees
change both their color and
their shape. If you study a tree
carefully, you will notice how.
translated to the palette
by an
increase of browns and reds.

trunks
foliage
thickness of the leaves,
rainwater.
brings out details in areas

that come into contact with
Tree
depending on the
the object takes
on a darker tone
sizes
object be-
color
an object correspond to the

color
on
our
brightest
palette. In the case of watercolor, highlights are created
by reserving white areas on
the paper. This can be
achieved by applying some
wax over the area you wish to
become dark
green and blue, while the
Study of a Rainy Sky

A
rainy sky
is
normally dark
and lead-colored. Nonetheless,
unlike a clear sky,
rainy sky
is filled
streaks of
rain.
colors for a
with bright
The palette
rainy
sky are
white, cerulean blue, cobalt

blue,
and
The color of rain-drenched

appear uniform
trees tends to
with distance. In this case the
watercolor
gray.
medium
captures the
different tones of greens in the
middle planes, differentiating

the last plane of trees in the
background.
Rain: Techniques, Chromaticism,
A Clear Sky
and Highlights
In puddles,
water produces
reflections that
originate from
the brightest
areas.
creasing
in
this
area
points of light that the
produce
in the water.
Reflections do not
the
terrain, the artist
same way
as
work
in
shadows,
which are cast horizontally

over the ground. The reflected
object tends toward verticality, as if it were a mirror.
When painting a drenched
Wet branches tend to sag

under the weight of the
the
waves
must create
gradual differences between

light areas (highlights) and
areas in shadow. The water in
rainwater.
The Rain Palette
the
its
puddles
is
illuminated
by
brightness.
Color also changes, especially in the upper reaches of

the trees, since the lower areas
have been protected by them.
The palette colors
will in-
clude emerald green, permanent green, alizarin crimson,

Prussian
blue,
blue, ochre
ultramarine
and yellow. The
ef-
A rain-drenched landscape
painted in wash. The reflections
in the puddles have been
executed with a variation of
grays without any black.
fect of rain influences all of the
elements in a landscape.
The darkest areas
in
contact
with the lightest areas create
Highlights
a strong contrast, which calls
for lighter tones always within
Highlights are tonal variations or points of light.
These
vary according
to the
lights
the
same
luminosity level.
Highlights cover a wide palette
range, from natural
shadow
to blues.
tone of the object and to the
incidence of light. A palette

for painting highlights comprises
the
all
effect
contrast
colors, since
of
it
simultaneous
between colors what
indicates a specific highlight;

for instance, shiny points
Reflections in Puddles
is
can
be highlighted on a brown
surface by using raw umber,
ochre, and white, which will
provide the painter with the
scale of values needed.
The reflection of objects in

puddles can be seen by the
artist
when
they are located in
the plane he
is
painting.
Refections tend to repro-
duce the color
of the object
shape
appears deformed by
the movement of water. The
contrast of the puddle with
Detail of a sketch
in the
the
terrain
and
increases
must also be defined by
in-
m pencil
puddles have been painted
reflected, although the

itself
drawn
of a wet landscape. The reflections

with great detail.
MORE INFORMATION
A stormy sky p.
90
90
A STORMY SKY
The moment just before a storm has been the subject
of
many notable paintings. The
representation of the force of nature in a landscape continues to be one of the most
challenging themes for the landscape
Composition, color, and contrast are the main factors
to
artist.
bear
in
mind, realizing that
the elements that form the whole influence one another, whether
contrast or
by
the
masses
that
by
they occupy in the painting.
The Importance
Monochrome,
of Space
Transparent, and
Opague Properties
When we paint a landscape,

we first have to decide what
proportion of
it
will
The task
occupy
what space in the painting.

Perhaps you choose to give
more
A monochrome work allows

artist to
the
study the maximal points
of light in the sky.

In a
small portion of the land-
lights in the clouds are left to last.
watercolor painting the high-
the terrain over

is
situated.
The task
of divid-
are
composing the subject

provide you with a guide-
line to follow, that is to say,
if
you choose a vertical format

and place only a quarter of
the landscape within it, the
end result will be a painting
in which the sky is most im-
The
composition,
this type of
attempting to
capture
vastness
within
the
and
of the sky.
for the
masses
that are to
masses such as these zones of

maximal light are left in reserve, and the rest of the sky is
painted in layers, using wet
and dry paper techniques so
that the blends can be obtained either by previously
prepared mixes or by running
A monochrome work
of
grays determines the lightest
\m
and darkest
fresh,
some
areas.
the paint
If
circular
can be applied
y^
is
brushwork
to the subject to
create the shapes of the clouds;
1n
force of nature through the
drama
tone to cover the entire sky with,
the brush over the wet zones.
A stormy landscape
one subject that fits per-
fectly
variation of grays increases
brightness.
portant.
is
an appropriate
is
In the case of watercolor,
when you
will
A medium
the canvas.
bluish gray
be left almost white.
reference for
which the sky
ing up the space
quires direct, unmixed palette
except
that only a small
strip is left as a
nous painting and very often re-
work on
scape. In this case the horizon
low
of capturing a storm
begins with an almost homoge-
importance to the
stormy sky and include only a
line is so
all
tonal or chromatic
once the paint

transparent
Chromatic and tonal evaluation.
is
dry, several
added to enhance
be
can
layers
the color.
Painting a stormy sky requires

alternating a variety of contrasts.
'^
Influence of the
Sky on the Earth
You will already

have seen
er
in earU-
chapters
how
the sky meets the

earth, to
such an
extent that occasionally
only the
stormy clouds of
the landscape are
visible.
Rain: Techniques, Chromaticism,
and Highlights
A Stormy Sky
Tips for Painting Skies

As the
and the
light fades
sky loses its brightness, the

land gradually loses its contrast
and takes on
pearance, akin
which
make
it
is
Contrast in a Storm
a unified ap-
to a
mass
This
example
a perfect
in
watercolor. The effect of
only possible to
out the
is
stormy sky painted
of a
in
the force
main forms and
is
dramatized
the most intense highlights.
thanl<s to the strong con-
The palette used for painting

depends to a great
extent on the color of the sky
and the harmonic range chosen.
trast obtained
Any type
able
for
between
the lights and darks.
a landscape
Turner,
Landscape of Mount Cenis.
of palette is suit-
executing a landscape, but whatever the case,

you must always bring out the
maximal contrasts.
The color of the sky influences

the landscape.
Once the darkest areas have

been indicated, the brightest
parts are highlighted in the
same way
as the shadows.
hnes or masses
ML
The Highlights
the Ught provide important con-
iM
trasts within the
Having established the basic chromaticism of the sky,

the artist can identify the
brightest
then
parts;
with
which tend
the
to
coincide
accumulation
of
clouds and of the shadows
among them. The clouds

should be outlined in a dark
color using a round brush and
be blended with
movement
ward
Highlighted zones often
require the use of a palette
knife or your fingers.
It
may
in a
a circular
gradation
Volum e
in
composition.
Clouds
the
painter apphes the darkest areas,
The
connect the
areas of shadow with those in
in the
Clouds
The horizon increases the

presence of cool tonalities.
that
to-
the deepest color.
Areas of reflected light present a

paler gray with an extremely slight
bluish or yellowish tendency.
broad sky is a large suron which objects are located in depth just like on the land;
therefore, clouds also have to
be located according to the
rules of depth and perspective.
A strong storm provides a
foreground rich in contrasts
and large tonal masses. The
face
farther
away we are
the small-
er the volumes tend to be.
On
the other hand, a gentle storm

will
never produce
this effect.
have a yellowish tendency.
Areas
in
shadow call
for light
gray mixed
with the
same blue
of
the sky.
Clouds sometimes appear

very dense and with deep
shadows.
By heightening the lower

clouds,
to
it is possible
achieve a highly
dramatic result.
MORE INFORMATION
Rain:
techniques,
and highlights
p. 88
chromaticism,
92
FOR PAINTING SKIES
TIPS
No two
skies look alike. So there
is
no unique formula
such an important role in a landscape.
he or she
is
going
to paint with,
If
ing will involve a
well aware that
keep
it
mechanical-looking
de-
on
uniform
surfaces
The brush should be lightly
loaded with paint to scrub
on top of the dry base color.
like texture.
Frottage
These different styles of

brushwork emphasize the
A hard hog's hair brush can

be used
flat
cloud's texture.
smooth
skies by scrubbing over
for painting
surface of an already
dried underpainting, but al-
the
trace;
such brushes are also very use-
lowing some of the underlying color to remain visible.

This brush is especially useful
in
rendering clouds and
blending the colors along the
horizon line. This frottage
technique can be applied
with both oil and acrylic
mediums, the latter having
the advantage of fast drying. The brush should be
lightly loaded with paint; in
fact, it is advisable to rub
the loaded brush over the
palette in order to remove
most of the paint.
stormy
and blending and mixing
colors on the canvas itself.
Wide brushes are excellent
for covering broad surfaces,
ful
paint-
lot of
without leaving any bristle-
his
from the canvas without leaving

a
that plays
are ideal for painting gradations
is
brushes in
good shape. This does not
mean to say that once these
cherished tools have become
too old and worn they should
be thrown away.
A worn or damaged brush
can be used for removing paint
vital to
element
medium and other material
tailed work. Fine-hair brushes
Brushes are the painter's

most important work tools. An
artist is
the
both the procedure and the result can be very pleasing.
even when the finished
Old Brushes
for painting this
knows
the painter
tools for creating
skies,
Circular Strokes for

Painting Clouds
Clouds can be painted over
a previously painted color base
by applying some white to the

canvas and then spreading it
with a circular motion until
it
has blended with the base color.
Small amounts of white paint
should be apphed in spirals

leading inward in order
to
bring out the shapes of the

clouds.
used
Then
wide brush is
edges
to lightly soften the
of the clouds while at the
same
time defining the clouds' plane.
Light
and Indistinctness
In this
painting, the artist creates a
scene
including both night and day; possibly the

backlighting.
The
bright
sky
result
of
makes
the shapes of the trees stand out
like
silhouettes against the background.
The backlighting effect
is
excellent for dra-
nnatizing the sky.
Magritte,
The Empire
of Lights.
you begin with a freshly

painted base color
A Stormy Sky
How to
T he Unifonnity of the Sky
Paint
tion,
Foregrounds
blending one stroke with
the other.
Sometimes a painted sky

does not require much elaboration, perhaps because the
subject itself does not demand
it, or because the landscape is
so prominent that the sky requires only
A continuous circular sweeping

motion
IS
earned out with the brush.
Color Blend ing

The blending
in the
sky
is
of the colors
very important,
some chromatic
association with the ground.
A midday sky can be painted with a mix of white, cobalt

blue, and cerulean blue (a
larger proportion of the
latter).
The resulting color is then apphed with a wide brush.
A wet base color allows you

to
continue
to
blend
in
other
An afternoon sky has some

warm accents within its
A clear sky can be heightened with
otherwise blue uniformity. In
the depth on the horizon.
order
to create a uniformity of
color
and
must be
applied
colors.
texture, the strokes
softly
and successively
in a horizontal direc-
The paint is applied in

an even manner.
Using darker hues, the painter

energetically performs
twists with the
brush
to
some
create
contrast.
warm
tones in order to accentuate
since the gradation of the color
and the inclusion within
it
of
hues helps to create

reahsm and depth.
Small brushstrokes of chromatic variations, both complementary colors and tonalities
from the same harmonic
range, can be added to a fresh
undercoating. The color can
be blended into the background by carefully applying
successive strokes over the
background color.
different
This step of blending in a final

application, or glaze, provides
the picture with a chromatic co-
herence. The
not
final
glaze must
be painted until the painting
has completely dried.
Once
the clouds have
correctly positioned,
been
we can begin
working in the additional
color.
MORE INFORMATION
The sky and
its
color p. 80
A glaze is a fine layer of almost

transparent paint that lends the
and
done by applying
a very small amount of paint to a
mix of 50% turpentine and 50%
oil painting medium. The same
picture chromatic unity
depth. This
is
applies for acrylic paint, except

that the
mix is made up of water

and acrylic medium.
The tiny hues of color are

blended with the background-.
HOW TO PAINT FOREGROUNDS

When you are planning your landscape,
it
may happen that, on more than one occasion,
you choose an interesting viewpoint, only

problems
arise in the foreground. Painting
therefore,
want
you should
to
try
to find that
an
is
every possibility
remove a house from
some
and compositional
pictorial
art that offers infinite creative possibilities;
that
you can think
the scene or include
some
of.
For example, you
trees or flowers.
may
Why
restrain yourself?
Essential Objects:
Composition and
Trunks, Rocks, Trees
the Foreground
It
is
Composition is the key faclandscape painting. The
important to be sure of
location
the
of
planes
tor in
the fram-
artist
the
when you decide on
ing of your picture. First draw
two horizontal lines

foreground,
to
mark
the
middle ground,
and background. Because the
should achieve a balance
elements within the
of all the
picture area.
masses of color
landscape have different
weights depending on which
Visually, the
in a
plane they occupy. Therefore
you must pay special

to
By slightly altering the viewpoint,

you can radically change the
whole composition.
main function
to
of these lines is
separate the three planes,

is no need to include
there
anything else
developing an adequate fore-
ground by playing down the

dark areas and reducing the
large shadows. By increasing
the use of transparency you will
gain more color depth, particularly in the background planes.
Here are two possible solu-
Once you have roughed-out
In a triangular composition,
situate the points of light in the
in
half,
especially
when
is
it
combination with leaves.

Limit any excess of lines go-
comprise the foreground. You don't have to

paint an exact copy of the subject; in fact, you may even
want to include objects located
ing in a single direction by

placing other compositional
ements
%
in
opposing
el-
locations.
in
mind
as
is
^^^lir'""^'^v--:
Cezanne, The Bridge
at
indicated in the schenê
give depth
to the
A landscape has a specific

depth of field; when we look at
the horizon, our eyes no
longer focus on the details of
the shapes in the foreground,
we
still aware of
you paint a landscape in depth with a highly
detailed foreground everything will appear in sharp fo-
are
If
cus, while the
/^
S\''^'''lk^my^^'\
the rest of the painting,
superimposing them throughout the background planes.
to
Determining the Amout of

Blending
their color.
'r
the direction of light.
The placement of the objects is drawn in the same way
helps
although
outside of the composition.
However, always bear
The Red Roofs. Notice

scheme how the foreground
Pissarro,
in the
successive planes.
the canvas, indicate which objects will
ii^k
tions:
top
at this stage.
w^ i8K^**^
attention
.*-f>
"
^-
-^
planes
:r
if
their details.
we
more
On
where the planes overlap each
other.
^1
lose
the contrary,
omit details in the fore-
ground, the planes
Menney. The points

show the main areas
distant
will, in contrast,
will
appear
more separated and the observer's eyes will be drawn directly to the painting's center
of interest.
95
How to Paint Foregrounds

The palette knife
good for painting
is
also
leaves,
even
in pictures painted entirely with
the brush.
Detailed
If
Work
you decide
to
paint a
highly detailed picture, you

Kan Gog/i.
Hill with the

Ruins of Montmajour.
have to take pains in the

rendering of the highlights,
shadows, and textures of the
will
foreground, ensuring that their
Van Gogh and the

Foreground
tones are different from those

in the rest of the picture.
In this
landscape, the great
nnaster included a large rock
Monet, Effect of Snow. Note
bow
in
the foreground, while at
the
the absence of details in the
foreground does not distract the

spectator's attention. This plane
occupies almost half the painting,
also providing it with depth.
same time
allowing an
have painted the tones
you
textures (shadows, highlights)
planes with one
in the distant
homogenous
you should
color,
elements
excellent distribution of the
treat the
remaining masses around
ground with related
it.
If
of the
in the fore-
tones.
Chromatic wealth and variety
Once the foreground has

been painted, you should play
down its presence by blend-
in a
small area.
ing the adjacent colors with a

clean,
wide brush.
dry,
slight reduction in the size of
the forms in the
background
will contribute to the
depth of
the composition as a whole.
Each plane
in the painting
should be given
its
own unique
treatment with the paint.
The Use
of the Palette
Knife and the Tip of

the Brush Handle
The palette knife is ideal for
working on the foreground, in
order to create textures and
ing grass and other textures in

the green
masses
of the fore-
carry out sgrafitto (scratching)
ground, simply by scratching

away some of the most recent-
with the
ly
tip.
The tip of the palette knife

also comes in handy for paint-
A worn brush
is
used
applied paint in order to allow the underlying colors to

be seen through.
to
apply texture.
Creating texture
in the
bark of a
tree.
MORE INFORMATION
Rocks
in a
landscape p. 60
Different planes
and depth p. 76
Original
title
of the
book
in Spanish: Paisaje.
Copyright Parramon Ediciones, S.A. 1996World Rights

Published by Parramon Ediciones,
S.A.,
Barcelona, Spain.
Team
Parramon's Editorial Team
Author: Parramon's Editorial

Illustrators:
Copyright of the Enghsh edition 1996 by Barron's

Educational Series, Inc.
All rights reserved.
No part
by
of this
book may be reproduced in any form
photostat, microfilm, xerography, or
any other means,
or incorporated into any information retrieval system,

electronic or mechanical, without the written permission
of the copyright owner.
be addressed
Banon's Educational Series, Inc.
250 Wireless Boulevard
Hauppauge, NY 11788
All inquiries should
International Standard
to:
Book No. 0-8120-6616-2
Library of Congress Catalog Card No. 96-85273

Printed in Spain
987654321
BOSTON PUBLIC LIBRARY
3 9999 03059 488 9
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The Medium and the Landscape. The Earliest Landscapes

Mixing Colors. Color Theory

The Fast Sketch: Outdoor

Details and Spontaneity in

Painting. Quick Painting and

Areas Untouched. Letting the

Drawing Pads and CanThe Camera. The Impres-

in the Studio. Illumi-

ing Trees. Using a Pencil.

Evaluating Planes in Pastels.

Evaluating the Back-

a Technique for Rapid Painting.

How to Store Your Paintings. The

Watercolors and the LandA Spontaneous

Acrylics and the Landscape.

advantages. Textured Work. The

and Color. Applying the

Oils and the Landscape.

Traditional Technique. Chro-

matic Potential. Surfaces for

Alternating Techniques. Aland Oil. Quick

of Field. The Renaissance and the Development of

Chromatic Evaluation and

and Sketches. Basic Equipment

the Surrounding Atmosphere.

Equipment. Cleaning Materials.

Landscape Composition. The

The Color Masses in a Composition. The Point of

Types of Brushstrokes: Ap-

plying Paint. The Construction of Color Masses. Wash and

Composition. Types of Composi28-29

Adaptability. The Division of

The Drawing and the

Different Techniques for Paint-

of View. The Background Conditioned by the

Perspective. Vanishing Lines.

The Horizon Line and the

Show Through. Watercol-

Atmosphere Without Detail.

Technique. Leaving the Painted

Gradation. Using the Palette.

Watercolors, Ink, Oils, and

the Subject. Tonal

sance, a Technical Revolution.

Scrubland. Unreal Color.

Evaluating Earth Colors.

dieval Landscape. The Renais-

Blue to Yellow. Color Synthesis.

Resolving the Whole. From

proximation. Tonal Adjustment.

Space. The Planes in a Picture.

Adaptability and Perspective.

Subjective Contribution. Rough-

Adaptability and Composition.

and Depth. The

Animals in a Landscape. The

tioning a Horse. Animals and

Plane (Differences Between