Artists have felt compelled capture the wonder and beauty of the natural world around them as long as there have been artists. From cave paintings to modern times, we are constantly striving to record a lasting image of what we see, whether real or from our imaginations, onto paper or canvas. Why do we feel the need to paint landscapes?
The Elements of Landscape Oil Painting: Techniques for Rendering Sky, Terrain, Trees, and Water
A landscape painting guide for oil painters that breaks landscapes down into component elements from nature, and showcases tools and techniques used by classic and modern oil painters for bringing these scenes to life.
Landscape painting is one of the most popular subjects for painters working in the medium of oils–from classic masters to contemporary artists. In The Elements of Landscape Oil Painting , established Watson-Guptill author and noted instructor/painter Suzanne Brooker presents the fundamentals necessary for mastering landscape oil painting, breaking landscapes down into component sky, terrain, trees, and water. Each featured element builds off the previous, with additional lessons on the latest brushes, paints, and other tools used by artists. Key methods like observation, rendering, and color mixing are supported by demonstration paintings and samples from a variety of the best landscape oil painters of all time. With The Elements of Landscape Oil Painting , oil painters looking to break into landscape painting or enhance their work will find all the necessary ingredients for success.
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Genres ArtNonfictionDrawingReference
208 pages, Hardcover
First published August 18, 2015
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396 reviews 282 followers
A marvelous book!
The author, Suzanne Brooker, provides a broad and comprehensive view of landscape painting that is technically challenging, but written in an inspiring way.
A beginning painter might find this a little above their level, but I would say that anyone who has at least two years of painting experience should be able to gain from this book.
The subtitle “Techniques for rendering sky, terrain, trees, and water” accurately explains Brooker’s approach to the topic. Looking at these elements separately, and then “Putting it all together” in the last chapter should help any artist seeking to improve their understanding and ability to paint the landscape.
A great book on this subject and worth the time spent.
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1,475 reviews 83 followers
Suzanne Brooker’s THE ELEMENTS OF LANDSCAPE OIL PAINTING
Some of you may know that in addition to my reading, blogging, house repair personae I am also a painter. I am not a painter of any renown but it is something with which I identify and very important to me.
I love to paint in oils, from live models, from still life arrangements, and I aspire to painting landscapes. For me, landscapes are the hardest subject to compose and paint. And, I am going to a workshop this summer on landscape painting. I thought this book would be a tremendous help to me.
I almost panic as I begin to paint a landscape these are some of the thoughts that go through my head:
Why won’t that damn sun stay still?
What is the focus?
Too much green, TOO MUCH green. (Oddly I don’t panic on blue when doing sky or water).
I do take photos of the scene, but aghh, trust me it is still the hardest thing. Actually, it ties with complicated masses (like a bunch of hangars or a bowl of tiny berries).
Enter this tome, THE ELEMENTS OF LANDSCAPE PAINTING, Techniques for Rendering Sky, Terrain, Trees and Water by Susan Brooker. She is apparently a very well known and considered art educator and painter. And her talent and technical knowledge run very deep.
This is an excellent resource for artists who paint in oil, but it is not the kind of book you read cover to cover. It is a large format book and hard to hold comfortably for that type of reading.
And, it is supposed to be aimed at intermediate painters but it is bogged down in a lot of information that I would probably place in a beginners class. It has a lot of information that intermediates already have and, for me, it was confusing. I have been taking classes at the art college here since 1995 and never heard of some of the things she shows. She presents lists of supplies, how to hold a brush how to prepare a canvas, and more. It took away from the book’s impact. The book hovers somewhere between belonging in the reference category and attempting to be a course in landscape painting.
Also, she is a much more technical and methodical painter than I am.
But, I also found a lot of really good information like asking the question, “What do I See?” in composing a painting. This question is really vital and was like a light bulb turning on. The question doesn’t ask “What is there?” It asks, “What do I see that makes me want to paint this?”
If I had received nothing more than this from the book it would be worth it, but there is a ton of information that I can see myself using a I approach a painting. And it is certainly beautiful to look at. There are dozens of seriously beautiful landscape paintings and drawings. I could just look through it as a coffee table book. I also think much of the information presented would apply to painting the still life.
If you have an interest in painting the landscape in oils I highly recommend this tremendous resource.
OIL PAINTING EXERCISESDistance and Texture
In this exercise we explore form as it appears in heavily textured subjects and the way colors change as they are seen at different distances.
Distance Changes Colors
As the same colors are seen at different distances they change. When matching colors on your palette you will see that all colors acquire their complements when they are seen farther away.
Even in this short distance the middle reds of the tomatoes are different. The farthest one has the most of its complement (green) in it making it look farther away. Also the green tablecloth as it recedes has its complement (red) mixed with it.
Here the intensity of the colors of the leaves creates the impression of near and far. The most intense colors are always in the foreground.
Look For Texture Between Light and Shadow
Textures are most clearly defined at the transition of the light to the shadow. On smooth objects the edge of the highlight defines the degree of smoothness. On rough objects the change from light to dark defines the texture.
Spheres and cones from smooth to rough, the value shapes within the forms create the illusion of three dimensions.
With these things in mind we paint this subject.
The basic shapes and angles are drawn with thinned white paint on a toned canvas.
Landscape paintings begin with the things farthest away in this case the values of the sky.
The three values of the clouds are blended with a Flat and Filbert sable brushes, to create the softest textures.
The ocean values are put in. As colors recede they become less intense so the blue ocean at the horizon has more orange in it than the blue ocean in the front.
All receding colors become less intense. Their complements are added as their distance is increased.
The grass in the distance is the same color as the grass in the on the hill but because it’s farther away it is less intense. The yellow-orange of the grass has its complement, blue-violet, added as it is seen farther away.
Texture begins. The edge of a Flat brush is used to begin the grass.
The darks of the trees are placed first here to further define the drawing. The edge of a Flat bristle brush is used.
Next the lights are placed.
The middle values complete the form.
The lights and darks for the foreground grass are put in.
And the middle value completes the form. Notice the change in intensity of the grass colors in the distance, on the middle hill and in the foreground.
This is the first layer of paint. Oil paint is well suited to working in layers if you want to improve an area or add something else, wait three days for it to dry before adding new paint.
With your review of the basic information and the completion of these four exercises you should have enough different types of painting experiences to be equipped to paint anything you want. So what are you going to do? You can send me a photo if you like.
© Copyright Bill Martin 2007-2014 • PO Box 511, Albion, CA 95410 • [email protected]
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Artists have felt compelled capture the wonder and beauty of the natural world around them as long as there have been artists. From cave paintings to modern times, we are constantly striving to record a lasting image of what we see, whether real or from our imaginations, onto paper or canvas. Why do we feel the need to paint landscapes?
Places that Inspire Wonder and Imagination
Perhaps there’s something primal drawing us (no pun intended) to record what we’ve witnessed, a sense of peace that comes from being in the moment and appreciating the world around us. Though we may get our food from the grocery store and live in houses, we still rely upon the land for our sustenance and the materials for our shelter, and painting our surroundings is a great way to reconnect and appreciate what the world gives us. As we go into the Thanksgiving holiday this week in the United States, it’s worth taking a few moments or even a few hours to stop and be grateful for the earth we walk upon, as well as our abilities and the drive to create that nature inspires.
Of course, it’s not just about painting locally. Many artists I know love to paint more exotic locations, whether from photos of places they’ve never been, or maybe the places they love to visit, to preserve the image for a bit of an escape into their memories. Painting landscapes is always an adventure, even when you haven’t left your studio, one that relies both upon your skill and some imagination as well.
And imagination does play a huge part. I’ve spent many an afternoon and evening staring at the paintings done by my great grandfather, wondering about the people who lived in the village in one painting, or who the canoe by the lake belonged to, in another. I’ve imagined fantastic adventures that happened just around the bend in a road, and wandered off, Red Riding Hood-style, through that woodland, and in the summer heat, I’ve longed for the wintery cold of a snowy landscape. There’s a reason they say that a picture paints a thousand words. Landscape art hints and teases at the story that is lurking within the frame. As a painter, you choose what story to tell.
With that in mind, perhaps the question isn’t “Why paint landscapes?” Perhaps the question is, “Why not paint landscapes?”
Get Started With Landscape Painting
Of course, the next question after that, is “Where do I begin?” With paints, brushes and canvas (and with Christmas coming, now is a great time to put some of those materials on your wish list). And with the great landscape painting techniques you can pick up and start using from Johannes Vloothuis, you’ll be ready to do just that in no time.
Preview the video now to see how color mixing and matching from a limited palette can help you get the right color, every time, along with oil painting techniques and their practical applications within a landscape scene. Then, buy, download or stream the video to get all the instruction you’ll need to start painting realistic landscape elements.
- Tips on how to start painting landscapes in oils
- Easy-to-follow lessons from an experienced instructor
- Lessons on mixing and matching colors from a limited palette
- Full oil painting supply list that won’t break the bank
- Ten different painting techniques that can be used to create different landscape features
- Practical applications of techniques to four different landscape paintings: Water Reflections and Rocks Underwater, Waves, Sea Foam and Mist, Trees, and Rocks and Mountains
The best thing about this video is the way Johannes breaks down the lessons. You’ll get valuable information about materials and color mixing that will keep you from buying and wasting too many supplies, and he makes painting in oils accessible to everyone. Plus, with a chapter on ten different brush and palette knife techniques, you’ll quickly pick up easy methods for painting realistic landscape elements such as clouds, trees and rocks, then in four different demonstrations, you’ll see how those techniques actually work to complete a painting. Have your brushes and paints handy, as you’ll want to follow along with every stroke.
