landscape painting essentials.pdf

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ES SE NTI ALS
with
Johannes Vloothuis
N TIA LS
L ANDSCAPE PAINTING
L E S S O N S I N
A C R Y L I C, O I L,
PA S T E L
A N D
W AT E R C O L O R
LANDSCAPE
PAINTING
ESSENTIALS
L E S S O N S I N
A C R Y L I C, O I L,
PA S T E L
A N D
W AT E R C O L O R
with
Johannes Vloothuis
CINCINNATI, OHIO
artistsnetwork.com
CO NTEN TS
1
INTRODUCTION
MATERIALS
3
4
2
3
4
5
6
7
64
1
2
3
PAINT HOW THE EYE SEES
• Visual Perception vs. Photographic Perception
• Reference Photos: Friend or Foe?
• The Peripheral Area
• Simplifying Foregrounds
• Blurred Edges
• Demonstration: Paint a Landscape
with a Simplified Foreground
6
4
5
6
7
CREATE MELODIC MOVEMENT
• Problematic Implied Lines
• Valuable Implied Lines
• Lost-and-Found Lines
• Solving Problematic Implied Lines
• Visual Paths
• Establishing Rhythm
• Demonstration: Create Melodic Movement
in a Painting
SIMPLIFY
• Zoom In and Cut Out
• Simplifying Nature
• Simplifying Architecture
• Demonstration: Simplify Your Painting
Composition
94
DESIGN WITH ABSTRACT SHAPES
22
• Symmetrical Brain vs. Artistic Brain
• Landscape Shapes
• Techniques for Promoting the Artistic Brain
• Negative Painting
• Demonstration: Use Negative Painting to Create
Abstract Shapes
• Composition with Abstract Masses
• Demonstration: Paint with Abstract Shapes
AVOIDING CLONES
110
• Identifying Clones
• Offsetting Clones
• Avoid a Mirror Effect
• Demonstration: Offset Clones in a Landscape
Painting
VARY AND ENRICH COLORS
• Controlling Monochromatic Color Schemes
• Demonstration: Color Matching
• Color Temperature
• Establishing Color Harmony
• Demonstration: Variegate Color in a Painting
48
ACCENTUATE DEPTH
• Methods for Accentuating Depth
• Demonstration: Accentuate Depth in a
Background
126
INDEX
ABOUT THE AUTHOR
142
143
INTRODUCTION
I fell in love with landscape painting when I was in my
thirties. I was thrilled with the idea that I could create my own
worlds. As happens with all artists, my early attempts were
to copy photographs exactly. I erroneously thought that if I
could copy nature from a good photo, I would end up with
a successful painting. I chose the most outstanding scenes,
set my studio up and started to paint… but it just was not
working. I said to myself, “This doesn’t look right. I don’t like
what I am painting. “
For years, I battled to get the answers to what it took to
paint successful landscapes. I went to several instructors, got
a few tips here and there, but nothing that could really make
a big enough impact in my artwork. I remember promising
myself, “If I ever get good at this, I will share everything so
others won’t have to go through the same frustration”.
After reading countless books and carefully observing top
artists’ work, I started to see patterns that they all repeated
in their artwork. So I back engineered their paintings
and figured out the commonality in their compositions.
This is when I began to apply a science to my process,
and my paintings started to click. I won the top award in
a nationwide contest in Mexico and began to sell many
paintings.
A few years later, I joined WetCanvas, an art focused
social network where people share their paintings and tips.
I remembered my promise and offered help and advice to
other artists seeking answers. Eventually, I was recognized
by the publishers of this book, who named me a Master
Painter. They approached me to teach live online classes and
workshops that would reach out to even more artists.
Since then, I have taught over 15,000 artists, including
professionals. These classes enabled me to verbalize in simple
understandable terms the science of beauty in landscape
painting, and much of it is now being revealed in this book. I
part with this notion,
I don’t believe in ugly paintings because
it is a human expression, but I do believe one should pursue
venues to make them more beautiful.
THE TETON
Open acrylics on linen glued to masonite board,
8"
×
10" (20cm
×
25cm)
Visit artistsnetwork.com/landscapepaintingessentials to access a bonus demonstration.
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3
MAT ERIALS
There are entire books devoted to the topic of how
to choose the best supplies and tools for creating
your artwork. Here is a brief overview of the materials I
prefer to use when creating my paintings. Experiment
with different brands and mediums to find the
products that work best for you.
BRUSHES
I prefer brights for all my mediums. The square heads help
me design abstract shapes. Rigger brushes work well for
thin lines. I use a pastry brush for grass in watercolor.
EASELS
I use a Soltek easel. This is the diamond of all easels. Set up is
fast and easy. There are no wing nuts to turn. It is all metal and
light weight compared to many other easels. I have done over
500 plein air paintings with it.
SPONGE TOOLS
These PanPastel washable applicators are made with a
special sponge to apply the paint in a thin film.
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