Approaches to Capturing Light in Plein Air and Studio Landscape Painting
Works by six painters demonstrate that “capturing” light requires a delicate balance between value and color.
Browsing: Landscape Theory
Landscape Painting Demonstration: Beyond Observed Color with “September Light”
Are we bound to the colors offered by the photo, or can we make the color in our paintings our own?
Q & A: Painting Overcast Scenes in Plein Air or In the Studio
Overcast and sunny subjects will present values and colors differently. Know the differences and what to look for.
Exercise: Simplification and Massing in Landscape with Limited Values
How can you reduce nature’s vastness and complexity into more visually concise and simplified shapes? With limited values.
The Three Stages of Color Development in Landscape Painting
As we continue to grow as colorists, we learn the lessons of observational color and gradually become more intuitive.
How Value is Used to Heighten the Effects of Color in Landscape Painting
Color can do magical things when we understand the role values play in bringing out color identity.
Landscape Composition: Building Interest through Intervals and Variation
Discover the power of variation with paintings by four master composers and a demonstration on intervals.
Eight for Eight: Mitchell Albala’s Top Landscape Painting Posts, 2009–2017
In case you missed it — a look back at the most popular landscape painting posts from the past eight years.
The Gifts of Plein Air – Living Color through Direct Observation
How we interpret color in plein air is very different from how we work with color in the studio.
Gold Gesso Ground as a “Metaphor of Light” in Landscape Painting
A gold ground offers a unique color “metaphor,” with paintings by the author and reviews of gold gesso and paint.