Author: Johannes_Vloothuis, Contributing Editor

8. Depth. An artist is limited to creating the illusion of three dimensions on a flat two dimensional surface. We are to trick the people who see our paintings to believe that what they see looks real. Sometimes I have heard people ask me when they see my paintings. “Is it a photograph?”. How far from the truth they are! There is nothing real about my work, just a representation of reality. Here are a few gimmicks that will work to create the illusion of depth. Place objects so they overlap. Atmospheric perspective. Colors get cooler (bluer) and lighter in value as they recede into the background. They get warmer and the dark values become darker as they get closer. Note. In nature this doesn’t always prove to be right. When we look at a tree that is 100 yards away it will still be dark and a warm green. The value shift will be very subtle in comparison to a tree right next to you. This slight difference wouldn’t even show in a photo. If you paint it this way you won’t be creating the illusion of depth. However, If you add more mauve or blue to your greens as well as lighten them, this will push them farther into the distance. The more you apply this concept the further they will recede. Simulate it is a humid day with a lot of moist in the air. This has to be exaggerated to a point. Elements are smaller and less defined in the distance than in the foreground. Create at least three planes. Each should have a predominant value. Usually known as foreground, middle ground, and background. Linear perspective. Subtract texture from objects that are in the background. See Fig 13 on the previous page. There is a good feeling of distance. The pine trees are placed in front of the mountain which in return is behind telling us they are farther away. The intensity of the yellow that appears on the highlights in the foreground is much warmer, whereas in the background some mauve was added to cool them. The shadows in the far mountain are lighter and bluer than in the middle ground. There are three planes.

Fig. 14. You can add more planes which will enhance the feeling of distance if you darken the foreground.

Fig. 15. Fog is a great way to create distance.

9. Reserve your strongest value contrast for the center of interest, very dark against very light or the reverse. Keep the contrasts subdued everywhere else so as not to compete for attention. That is mid values against darks or mid values against lights.

Fig. 16. Wrong The tree on the left is competing for attention. There is a dark against light contrast on the left.