Understanding the Effects of Light in Different Angles

In this lesson, I delve into the subtle atmospheric effects caused by the angle of the sun. When the sun is lower in the sky, it passes through a larger section of the atmosphere, scattering the light. Shorter wavelengths, like blue, scatter the most, creating the deep blue sky. The longer wavelengths—yellows, oranges, reds, and pinks—are scattered more at lower angles on the horizon. This phenomenon is key to capturing the depth and warmth of light in a landscape painting.

As the sun hits the atmosphere at an angle, I focus on how these colors influence the sky and foreground. For example, in the distance, I might exaggerate the pink-violet hues in the sky, a result of the red photons being scattered through the atmosphere. This subtle yet important effect helps convey the feeling of atmosphere, where the sky transitions from warm hues near the horizon to cooler ultramarine tones higher up.

Creating Depth with Color

One of the most effective ways to suggest distance in landscape painting is through the careful manipulation of color. As the atmosphere becomes thicker in the distance, the colors shift towards cooler, blue-violet tones, which enhance the perception of depth. By amplifying this effect, I can create a strong sense of perspective in the painting, especially in distant mountain ranges.

The front planes, such as rocks and water near the foreground, receive a warmer light, while the top planes—where the sky’s influence is greater—are painted darker and with less yellow. This subtle variation in light intensity between the front and top planes adds volume and dimension to the scene.

Watch my MasterDemo to learn more.

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Composition and Shape Rhythms

An important principle I emphasize in this lesson is the rhythm of shapes within the composition. By varying the size of objects, such as rocks, I create a sense of movement and balance. For example, the introduction of a smaller rock next to a larger one creates an interesting dynamic, preventing the composition from feeling too static. The interaction between the rocks and waves adds complexity and life to the painting, enhancing the feeling of the waves crashing around them.

One of the main points I stress is not to settle for just a large chunk of rock or water in the center. Instead, I suggest introducing smaller accents that create a rhythm, adding visual interest and guiding the viewer's eye through the painting. These thoughtful adjustments result in a more harmonious composition that feels alive and engaging.

Adjusting Shadows and Perspective

In landscape painting, creating depth and perspective is crucial. If a rock feels flat, I may adjust its shadow or push the water higher against the rock to create more perspective, making the rock seem as though it’s receding into the distance. Perspective also comes into play when adjusting the composition’s lines. Ensuring that the lines, especially those in the background, converge towards a vanishing point gives the scene a greater sense of realism.

In the case of a large rock, I might introduce a secondary rock or adjust the layout to balance the composition. For example, by adding a rock on the left side of the painting, I prevent the viewer’s eye from wandering off the canvas, creating a focal point that helps anchor the scene.

Cropping and Expanding the Composition

Composition can be drastically changed by adjusting the cropping. If I feel the splash of water is too centered, I might shift the focus to the left, or perhaps open the landscape to create a more panoramic view. This wider format can alter the dynamics of the painting, giving the viewer a sense of space and breathing room within the composition.

When experimenting with panoramic compositions, it’s essential to maintain perspective. All the elements in the painting should align with the perspective grid to ensure consistency. Even when stretching the composition, maintaining the integrity of the perspective is key to a successful painting.

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Balancing Simplicity with Detail

The most crucial lesson here is that we don't need to start a painting by focusing on the details—especially in the case of large rocks or sweeping landscapes. Instead, I encourage students to think about the movement of color and light first. Once the larger shapes and color patterns are established, the details will fall into place naturally. The goal is to let the composition breathe, focusing on the broad elements of light, shadow, and color before refining the finer details.

By approaching the scene in this way, students can create paintings that feel dynamic and energetic, without becoming bogged down by unnecessary minutiae. The result is a more fluid and expressive landscape, where the relationship between light, color, and form is paramount.