Outdoor Landscape Painting Notes PAINTING OUTDOORS First, let me say, be fearless! It takes time to observe and understand the difference between painting outside instead of the studio. There are many more things to deal with…blinding sun, rain, wind, bugs, observers, etc. Your paint will handle differently and there is so much information outside it can be overwhelming. Even veteran outdoor painters struggle with these things, so be patient with yourself!
HIGHLY RECOMMENDED READING "Carlson's Guide to Landscape Painting" (dated but incredibly good information, a must for a landscape painter) and "Fill your Paintings with Light and Color" by Kevin Mac Pherson (or his new version just out!) I hope you will read these right away for you will understand more clearly what to do when in the field.
SUPPORTS Use white or toned (I like using warm or warm neutrals under most landscapes) primed canvas in pads, canvas covered boards, gessoed board or gessoed heavy paper.
COMPOSING Using viewer, sketch loosely with a brush, any color is ok to map out placement. Change the placement of the elements if you like, move a tree, make things larger or smaller, but don’t invent what you don’t see. Make sure your perspective is correct. Vary your shapes and size, and use a sense of design. Try to limit your main shapes to 4 or 5. Make your composition strong and simple from the beginning! Take the time to stand way back and approve it.
ESTABLISH A FOCAL AREA (usually off center) the lightest light and darkest dark, brightest color, sharp edge or angles, etc., all pull the eye to this area. From here the eye should be able to move clearly around the canvas. Keep other areas more subtle.
PUT IN LARGE MASSES OR SHAPES and DELAY THE DETAILS Lay in the approximate color of the masses, keeping it simple. Begin with the darks thinly, you can add more paint and details later. SQUINTING will allow you to see less detail and simplify and define the masses. Doing the darks first helps you place the medium values and establishes an underlying pattern. Make sure they are well placed, interesting and balanced. Make changes now to save much time later!!
LIGHT AND SHADOW To make sunlight appear light we must lower the values around it. In warm light shadows appear cooler. In cool light shadows appear warmer. Vary the colors in shadows and lights for more interest when adding more paint.
HARMONY OF COLOR Learn to make many and related colors . . . grey and green charts (we will discuss) so you have a better selection and keep them with you. Stay away from “out of the tube” colors in general, too many bright colors are “noisy”, but too few can be boring. Be careful of what colors are next to each other.
THE IMPORTANCE OF “GRAYS” (all the colors between the colors!!) these are the glue that hold it all together!! You should not have too many colors screaming for attention!
EXAGGERATE ATMOSPHERIC PERSPECTIVE Objects appear cooler and bluer as they recede in the distance. Yellow is the first color to disappear, then orange, red, etc. until blue is left. This is caused by moisture or dust in the atmosphere. Objects appear lighter and details fade as they disappear in the distance. Sometimes exaggerating this will give more dimension and make it more believable.
PAINT APPLICATION Use larger size brushes, not too small except for at the end for highlights. Experiment with other tools . . . palette knife, a shaper for “erasing”, or different types of brushes. Keep colors and brushes clean. Try strokes in all different directions and amounts of paint. Don’t be too tight . . . enjoy yourself! Paint shapes not objects!! “Place“ the paint in a stroke, don’t scrub!!! This can make all the difference.
EDGES These should be varied and interesting . . . soft, sharp, thick and thin. Be careful, a warm and a cool coming together when too thin or without care makes mud!! Be decisive about your edges.
WHEN IS IT DONE?!! More is not always better. Start many pieces, don’t try to “finish” it, make it a good sketch instead. This is a record of your emotional reaction to a place and the colors you see. You can always do another or larger piece from this, but it is better to not overwork it. It’s better to capture the feeling of the place than to put every blade of grass!
IMPORTANT
Take lots of breaks!! Walk around and see what your fellow students are doing.
Step WAY back every 10 minutes or so to make sure it’s working!! If it’s not working after an hour it may be time to start again or modify it. If you push too hard for too long it loses something.
Learn to paint loosely and quickly.
Often paintings are “fixed” by taking something out, not putting something in! Simplify!!
Paint what excites you and enjoy yourself!!
Don’t be afraid to take a chance, you can always wipe it off. Don’t let anything be too precious.
Keep your sense of humor and breath a lot!!
