So many of my students have issues with understanding how to design a landscape and here I have listed some suggestions to help the understanding.
1. Make sure you have good resources: multiple images of the sight in varied colors and exposures in black and white.
2. Do you homework and pick a photo image of a place you are familiar with. Have sketches and notes.
3. Do the thumb nail sketches. Be sure to pay attention to the division of thirds in the picture plane and don’t put anything in the middle, it is challenging enough. One sided crops are awkward and equal distances between ideas, i.e.. trees are awkward as well.
4. Pay close attention to the mid ground. Remember in New England that the mid ground is often times blocked but it still exists. Make sure you acknowledge this in some visual way. The mid ground is were most peoples weakness lands. Design and draw as if you are drawing a diagram…it will make your understanding clearer.
5. Get a painter, who you can reference. Examine their pallet, design elements to help to develop your own.
6. Keep the design simple. Add as you go.
7. Keep the pallet limited.
Just a few ideas. Keep this blog for past and future examples
Draw Draw Draw…. This is the basis of setting up a painting.
I was in the MFA a while back and I saw the Dutch Master Show. Really quite magnificent. Everyone should see these paintings for it’s history, beauty, skills and great subject matter. I was particularly taken with the exquisite luminous fabrics…how they were described. One portrait would have a satin black fabric and the other black velvet. And how distinctly different these fabrics were but so subtle that they were hard to study to see exactly what went on to create different illusions in paint. For one thing: the blacks are rich, sometimes flat and sometimes luminous and shinny with other colors present in them and the whites or the lace just glows and appears to be off the canvas. Lead White is an amazing rich material that we don’t have or use today.
It fills my heart to see such skill with these painting and upsets me that we don’t value these skills today as a present day artist skills. What ever happened to years of drawing and getting educated in the baseline skills. I studied with Robert Cormier and Paul Ingbretson of the Boston School. An excellent education. I’d recommend this to anyone. I spent one year on a cast drawing which used to be the basic training for an artist. And three years just studying the portrait to develop my sight skills. That is not valued anymore.