I have also used the medium Liquin Original which improves the flow of the paint and speeds up the drying time. I painted this landscape on canvas, using oils. I have removed the line of stones in the water and made some of the bushes and plants bigger. I have lowered the horizon and reshaped the river so it leads towards the mountain. In this painting I have moved Mount Talbot (the focal point) to the left side of the painting and I have made it larger. This is where sketching is a vital part of the painting process, as it is necessary to rearrange the elements of this photo to create a much more pleasing composition. ![]() The horizon is in the centre of the photo and there is a distracting vector in the form of the horizontal line of stones across the river. Mount Talbot in relation to the river is cumbersome and distracting as the river leads the eye away from the mountain. ![]() The photo contains all the elements required to create a great painting however the composition doesn’t quite work in its current form. Creating the Compositionīelow is one of the reference photos I used to paint this scene. Many times in landscape painting less is more so it’s often a good idea to simplify the painting especially in terms of composition. Common compositional errors in landscape painting can include centre lines or focal point placed in the centre of the painting, aberrations and repeating objects, shapes and vectors and/or too much information. When compiling my sketches, I am constantly thinking about my composition checklist to reduce or eliminate elements that could ruin the composition. This is essential so I don’t run into problems with composition issues later on when I am painting the picture. Before I even began painting this picture I compiled many pencil sketches in order to plan the composition so I could see what would work and what wasn’t going to work in the picture. In order to create the story of this painting I decided what elements I wanted in the scene and where I wanted my main focal point to be. Depth within a painting can be achieved by having strategically placed focal points and effective use of colour to create atmosphere and space within the painting. In order to create an engaging mountain landscape painting first of all we need to plan our picture so we can determine what the painting is about. If you like this article, please subscribe to my mailing list or you can follow me on social media by clicking the icons below. ![]() It is a huge mountain range which ultimately leads to the epic Milford Sound, this is a great subject for landscape painting. ![]() This landscape painting is based on Mount Talbot in Fiordland, New Zealand. In this step by step painting demonstration I am going to show you how to paint this mountain landscape shown in the picture below. I look up to these guys for inspiration and I seek to emulate their techniques for my own landscape paintings. From the low chroma depth of the mountains in August Wilhelm Leu’s work to the natural organic vibrancy of the foliage in the works of Peder Mork Monsted, I love the way these guys composed their paintings and their use of colour and tone. Many of my influences come from 19th Century landscape painters, my favourite artists including Peder Mork Monsted, August Wilhelm Leu, Ivan Shishkin, and Even Ulving to name a few. I love landscape art, especially traditional realism painting and I have been painting landscapes for many years.
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