If you've tried using the Flemish technique in doing a landscape and found it a bit too much, here's a great shortcut that will eliminate a few steps.
Several things I talk about in my eBook on the landscape painting of Mabry Mill still apply here. Such things as composition, aerial perspective, and color. These concepts are still necessary in creating a realistic landscape painting.
I have found that utilizing all the steps become unnecessary after you've done a few paintings and understand each steps purpose. Only then can you use a shortcut.
This shortcut will help you to finish up a landscape painting in a real hurry. It's one that I've tried and seems to be "legit" to coin a term used by my kids.
Before tackling this, do brush up on these concepts listed below. You will need them when you begin your painting.
Understand atmospheric perspective. The idea that items in the background are going to be grayed out with a very narrow band of contrast.
As the landscape moves forward into the foreground, colors will be more intense, and contrast will be expanded so that in the very closest part of the foreground your maximum contrast of darks and lights will be present.
Here is the essence of the shortcut:
After prepping your panel, and drawing in your landscape, use color acrylics to lay in (block in) an under-painting. This is done in a very loose fashion with no details, and only mass color shapes to cover the white canvas or board.
There is a great deal going on already in the above photo. Firstly, I have blocked in 4 shades of blue and a light brown for my mountains and sky. Starting from the rear, and working forward with progressively darky blues until I reached the foreground.
I have already gone back and completed the sky in oils, and the first layer on the farthest mountains. The next 2 mountain ranges have dark blues added for the areas that are under the tree canopies. Again, this is very loosely done.
In the photo above I have put in the second mountain range, starting with my darks and finishing with the well lit canopies.
When approaching the middle ground and foreground, remember to lay in the darkest colors first, and put your lights on top.
Darks are layed in
with lots of medium to thin the paint, and the lights are put in with
little medium to keep the paint thick.
I use a dryer so the first color layers is dry by the end of the first day and the second day the painting can be completed.
I have learned this technique from a fellow artist that has posted his painting process on YouTube. I think you will really enjoy these films.
Below is the YouTube video by artist Michael James Smith. Its about 15 minutes long and shows you this process of the acrylic under painting and then how he paints the rest of the piece in time lapse. It's a nice tutorial.
Here's a link to his YouTube Channel if you wish to subscribe and see the rest of his examples.
Below is another video of the actual blocking in he uses in creating his landscapes.
He states that he does a small painting in a day or 2 days! Amazing and beautiful.
You'll notice in one of his video's a strange fellow in the background just painting away. I thought at first Michael was painting in an open studio with a number of other artists but then I thought, boy that would make filming difficult.
He tells you of the story of the gentleman and why he is with him in the studio. I won't give a way the secret, but I will give you a hint.
He has a wonderful and very admirable family culture. What a privilege it is to see it in action!
I hope you enjoy these!
Hey, I almost forgot. Here are 2 more paintings that were done within a few days of this first one above. Just to let you know it wasn't an accident on the first one. Yes, I do have a few of those!