Landscape Composition Rules

[TeAnne]

I enjoyed that, very informative. Thank you. :)

[henrik]

Uh, TeAnne - what is this about ??? :confused:

[scottb]

Here is a link to the article, Henrik:

http://www.wetcanvas.com/Articles/Johannes_Vloothuis/120

[henrik]

Duh... of cource. Fantastic work by Johannes!

[Shehaub]

This article is so good! I have it bookmarked it so I can reference it often. I am using it as a guideline for my current project and I cannot begin to describe how it has made a difference in how I develop and decide how to make it work.

I think this is going to be a "tool" for me for sometime. I really struggle with composition. This article pointed out some of my mistakes. Now I hope that I can use some of the tips to improve my work.

[Johannes Instructor]

Thanks for the positive feedback. If any of you knows of a rule that I didn't post either because I don't know it or it slipped by me, please let me know at jvloothuis@hotmail.com. That way I can add it to the tutorial.

[leesmith]

Great lesson! In this case, pictures are worth thousands of words!

[ldallen]

As soon as I finished reading it I went right to my easel and worked on a landscape I had been struggling with. Much to my amazement, with the tips in your "Rules" it is much (much) improved. Landscape is definitely my weakness, so I, too, have bookmarked it and printed all the verbiage for quick reference. Thank you so much.

[Johannes Instructor]

Thanks for all the positive feedback.

ldallen

I would like to know which points of the tutorial helped you get that painting going. How about posting a picture.

[tess2000]

Originally posted by Johannes
Thanks for all the positive feedback.


Is there a way to print all this info out without the format of HTML code? I don't want to print all the other stuff on the page just the posted pages. Does anyone know how to do that?

As soon as I can get it printed, I'm going to use this information. This is great! BRAVO!!!

Also, would this work for seascapes as well or is that a differant thing all together?

Tess

[Johannes Instructor]

Yes, several points do apply:

1. Do not place the horizon line in the center. If you wish to emphasize the sky, place the horizon line at the lower portion. Placing the horizon line at the upper part will emphasize the water.
2. Make sure your clouds don't have the same look as the foam in a crashing wave.
3. Add fauna to give life. Just make sure they are looking inwards and in case of birds flying inwards.
4. Create a mood by changing the colors to sunsets or storms.
5. Blur mountains and the horizon line to help convey distance.
6. The "eye" of the wave makes a great focal point.
7. Clouds, birds, the line that forms when the water reaches the sand, etc. make great pointers and visual paths to lead the viewer to the center of interest.
8. If you have more than one wave. make sure the don't resemble each other in size or line.

Here's an example of a seascape I was commisioned to do.

[tess2000]

Dear Johannes,

I'm stuck on a seascape and your information is exactly what I needed to know. My sky is where I'm stuck, but now, I can continue on.

This is really great information. I managed to download the pages and reformat them so I can print them out. It's still in HTML format but at it will print without all the rest of the ad stuff on the page and it lines up on a regular sheet of paper as well. I hope you don't mind. This is just such good material and I surely didn't want to not have it available in case of servers going down.

I can email it to you if you like and you could include a "downloadable version link in this article for those who want to save and print it out and save some ink.

by the way, are some of the images used in instruction post your own?

Thank you Again,
Tess

[Johannes Instructor]

Yes, some of the paintings displayed are mine. By the way I edited my comments on seascapes. I added some information regarding the fauna part looking inwards.

[tess2000]

Originally posted by Johannes
Yes, some of the paintings displayed are mine. By the way I edited my comments on seascapes. I added some information regarding the fauna part looking inwards.

Dear Johannas,

Your work is beautiful. The seascape reminds me of some of the Anthony Casay or Jim Warren work.
Thank you for your extras in this post. Very helpful.

I did manage to upload a printable version of your "Recommendations" to my website. I can leave this posted here for quite a while for those who would like to print it out within thier browser. I use Netscape so I don't know how it will look in Internet Explorer or other browsers.

Here is the link if you wish to include it. It prints out into a nice booklet form of 34 pages.

http://users.ticnet.com/tess2000/landscapes/landscapes.html

Again, I thank you,
Tess

[T-Rex]

I enjoyed it as well and found it extremely useful, especially w/ a checklist of sorts to ask myself, so many things to remember......Thank you much......Karen

[tammy]

I also have really enjoyed this article. It wasn't so much the info in it although it was that also, but it was the delivery of such. I've heard most of these tips too in various forms which I didn't always understand. Your presentation of them really broadened my mind on them and helped in the understanding. I really enjoyed the tip about bringing out the lights by deepening the darks. One would think that we'd all know that and yet many of us have trouble depicting streets lights etc in darkness.
Thanks for a great article.

[oldpaint]

great article! Thanks for taking time to do this one.

[ptantono]

Thank you very much Johannes. I have printed all pages for future reference. I learned so much from your lesson, it is easy to understand and your reference images are very helpfull.
Thanks again.

Patricia

[hopelance]

Hi

just joined the forum ... & read this,
this morning.

It was well written, well explained, & therefore easily understandable.

Adding all of the examples to illustrate a point, helped link the
information to image.

Very informative article - many thanks to the author!

bc


14 :clap:

[LarrySeiler]

*whew...kudos! :clap:

no sense re-inventing the wheel...I might very well direct my students to this very fine article! So much to chew on, and the buffet large enough that there is food enough for everyone!

Great labored effort and job, Johannes!!!!

Larry

[Reye]

Johannes
This is by far the most informative set of information that I have been exposed to. Many thanks....I am using it to look at my past work to find what I have done wrong previously and hoping that I never make the same mistakes again.
Thanks
Jerry

[drapier]

I am interested in Landscape photography and have been struggling with composition. I have gotten some great info for my trip to grand canyon next month.
If I have any success I will post some reference photos for you painters out there.
Agian many thanks.

[Maria Gusta]

What a splendid article, and a great gift to us all! It's quite an inspiration for both art and education.

This is a Wet Canvass Hall of Fame piece if ever there was one.

Johannes, thank you, thank you.

[katz]

Thanks Johannes,
I've just started painting landscapes from the many reference photos that I have taken on trips. This information will be very helpful to me. I really appreciate your sharing this information with everyone.

Katz

[jester1966]

Originally posted by tess2000

Here is the link if you wish to include it. It prints out into a nice booklet form of 34 pages.

http://users.ticnet.com/tess2000/landscapes/landscapes.html



Hi Tess,

unfortunately your link does not work. This is the message from your web hoster:

<i>
Dear Valued Customer,

Your personal website has been moved to a new server.

In order for us to continue hosting your personal web site, you will have to FTP in at least once.

If you have an FTP client such as CuteFTP or WS_FTP point it to users.ticnet.com and log in using your same username and password.

If you are unable to log in, please feel free to contact our Customer Care Center and they will be able to set up your login. Please have your current login credentials handy.

Thank you,

</i>

Any chance to get this anywhere else?

Birgit

[matildaberry]

greetings johannes

i too am new to wc and this forum. i am also very new to painting period and with acrylics. i have only been painting a few weeks as a matter of fact. but i wanted to thank you for the lesson because i am very passionate about landscapes. i feel this inner sanctum with nature and to learn to paint what i am feeling inside is a new passion for me. i will have to reread your article to get it into my head due to lack of printer. so i wanted to thank you for the article. i find wc as my only source of instruction except for the opb classes on television. i have no source of income to afford any lessons so this is fabulous for me.

thanks again johannes,
cathy:cool:

[legolas]

your article is very clear and a huge useful learning recourse. I love all those examples! I'm using it on all the images i'm doing now.
I was wandering, the painting of the road leading to a hidden thing on page 5, is that by alberd bierstadt?
Could you give me some names of nice landscape painters with good composition? and your favorite painting(s)?

Thanks so much!
Johannes (klapwijk :) )
ps Are you dutch too?

[belladonna]

Johannes you've written a book here... A really good one too. Thank you. Bookmarked!

[soap]

Same here - brilliant article - short and clear and well illustrated. Excellent!

[Olan]

Very good article, very informative. Should be required reading.

[fletch]

For those of us who thirst for information such as this, it is wonderful to have such a refreshing pool from which to drink.

Thank you so much for sharing with us.

[israelyang]

Hi Johannes, thanks. It's really awesome that you put up this tutorial, I kept a whole page of notes.
What I find most interesting is that sometimes you use very plesant looking paintings(professional in most people's eyes) and point out its flaw, like the one with blue mountain and orange forrest(fig. 50something).
Thanks again.

[DanaT]

Another one for my bookmark list. Thanks Teanne :)

[Kevin]

Hi Johannes! Thanks for such a great job in collecting and presenting all these wonderful tips on landscape composition. It's great to have them all in one handy compilation. The illustrations really help to make it easier to remember the various tips. Sometimes it's easier to remember the image rather than the text of a "rule" or recommendation.

I'm curious about one thing though. Although all these "rules" or tips are very valuable in developing a composition, -- I don't feel they are all equally valuable. I was wondering if you could give us a short list --maybe 5 or 10--of the "rules" or tips that in your opinion are the most significant and critical in creating a good composition? Reference could be by number (eg. tip #5) or just a brief identification of the substance of the tip. I also have book-marked this site, and am going to make myself a "Checklist" form and print out copies of it so I can analyze my older paintings, and more importantly, --use it for new paintings as I move from subject selection into concept and design of the new painting. Your listing is one of the best I have seen. Another good one is "Composition Made Easy" by William Palluth. (A Walter Foster Book).

Thanks again for an extremely useful tutorial! :) :) :)

[RobinZ]

Well, I just found this...and it's wonderful. Funny, I knew many of them, but of course, not all. I especially like your advice on not being a slave to nature....exaggerating the distance fade, etc. I am going to give landscapes another try. Larry helped me with my first one, which was still pretty pathetic even after his advice. But that was a year ago....wish me luck!:)

[accris]

That's a very good teaching. Certainly it will improve my composition. Thank you.
:clap:

[artbars]

Very good clause!
And what perfect works! A thank!
very informative.
I know it for a long time in the theory. And in practice not always it turns out.
With pleasure I shall re-read again
I wish to you good luck in all
Artbars:cat:

[Alan Cross]

Great tips....
Alan :)

[tokyotoejam]

WWWOOOOOWWWW!!!! Ok This article was exactly what I was looking for. This has put direction into my landscape project as well as answered alot of questions and ponderings I had about what colors and compositional layout to use. Thank You.:) :clap:

[Vasanti]

Excellent article! Thoroughly enjoyed reading . Will try to apply all that I read.Thanks! :)

[Sap Green]

I am a new member of wetcanvas, also i just took up painting a few month ago. As I am trying landscapes right now i found this tutorial from Johannes very informative. It answers a whole lot of questions for me. Thank you Johannes for taking the time to write the tutorial. I will have this bookmarked so i can refer to it in future.

[Lynxes123]

Thank you so very much for this fantastic tutorial, I read every page and learned so much. And thanks TeAnne for reminding me this valuable tutorial was there for the reading here in WC :clap:

[King Rundzap]

Thank you so very much for this fantastic tutorial, I read every page and learned so much. And thanks TeAnne for reminding me this valuable tutorial was there for the reading here in WC :clap:

I finally read through the whole thing and I think it's awful. I don't think there was one example painting for "better" or "worse", "correct" or "incorrect", "right" or "wrong" for which I agreed with the criticisms. If I have to be tutored in what someone is looking for in an artwork to know whether they're going to think it's "right" or "wrong", I don't think there's something problematic with my viewing/assessment, it seems like there's something wrong with the theory of what is better or worse.

For example, imagine that you're talking to Frank, who is telling you short anecdotes. You think everything is going fine. Frank is a fine conversationalist, in your view, with interesting things to say, etc.

However, I enter the scenario and when Frank says some things, I say, "Wrong", and others, "Right". You start thinking "what the heck?"

So I take you aside and say:
* "It's wrong to say 'the' more than fifteen times during the course of an anecdote, it's better to say it less than ten times."
* "Do not start anecdotes with sentences longer than nine words--it gives the impression that it's going to hinge on alcohol consumption"
* "The 'punch line' of an anecdote should contain proper nouns, or it sounds amateurish"

and so on . . .

Now, is there really something wrong with the way Frank is talking, or is there something very strange about my theory of anecdotes? Suppose that there are a number of people who have been schooled in my theory of anecdotes, and who follow it because they were taught that it was the right way to tell anecdotes, but most people are hardly aware of this, and thought that anecdote-telling was fine if the first sentence was longer than nine words, etc. Does that give my theory of anecdotes more weight? Does it suggest that you should also start believing that there is something wrong with the way Frank is talking?

That's how I see the supposed "rules" of composition. I'm no stranger to art--I've immersed myself in viewing artworks for almost 40 years, even if I've only been creating visual artworks for less than 10 of those years. The supposed problems cited in the article bear no resemblance to anything I've ever thought as a viewer of artworks. I don't see indoctrinating more people into something like the "theory of anecdotes" as a good thing. And if indoctrination isn't needed--if it's naturally the way most people look at art, and there's just something very weird about the way I look at it (although that's difficult to believe, since I have no other acquaintances who look at art that way, at least as far as I know, and it's something I talk to many people about)--then it hardly needs a laundry list of principles behind it. They would be clear by just looking at artworks and thinking about them.

[Added Later:] Or, here's another good example, from a real life experience. I once dated a woman from Laos who, among many other customs/beliefs that seemed a bit strange to me, believed that one should not dry both the top and bottom of their body with the same towel after a shower. To her, it was wrong to do this, and would apparently lead to bad results. Now, I don't know if that is a statistically normal belief for Laotians, or Laotian Buddhists, etc., but I had never thought that it was bad to dry oneself after a shower with just a single towel, and the fact that I discovered someone who believed this didn't lead me to thinking, "Geez, maybe I shouldn't use just one towel". Instead, I thought, "Geez, that's kinda wacky".

In other words, to repeat an earlier point in this post, if I have to be tutored in what someone else considers right or wrong for some custom, behavior, etc.--something that I've thought was fine for many years and never had a problem with--I don't see it as my problem that I think it's fine, but as a problem with the theory that it's not fine.

To me, the "rules" of art such as presented in this article, and as presented elsewhere (and this doesn't just go for visual art, by the way), are little better than such superstitions/customs, and they're not anything that anyone would pick up on naturally--they're cultural artifacts, of a very narrow culture. They may be interesting as such, in a kind of anthropological study, but I wouldn't recommend joining the cult :-)

[henrik]

Although I don't think this is the right place to have a debate about composition (love to continue this elsewhere) - I think what we are trying to preach in this forum is that the so called "rules" are not absolutes and does not tell you right from wrong - they do however point out consequences of certain design decisions and what you may want to do if you do not like the effect.

For instance; say that you have a dualism in your design where both shapes have equal visual weight. This typically leads to a ping-pong effect. Do you want the effect - keep it - else don't.

[dudley_d]

For example, imagine that you're talking to Frank, who is telling you short anecdotes. You think everything is going fine. Frank is a fine conversationalist, in your view, with interesting things to say, etc.

However, I enter the scenario and when Frank says some things, I say, "Wrong", and others, "Right". You start thinking "what the heck?"

So I take you aside and say:
* "It's wrong to say 'the' more than fifteen times during the course of an anecdote, it's better to say it less than ten times."
* "Do not start anecdotes with sentences longer than nine words--it gives the impression that it's going to hinge on alcohol consumption"
* "The 'punch line' of an anecdote should contain proper nouns, or it sounds amateurish"

and so on . . .



King Rudzap,
If I understand you correctly, your anology just does not work. Dale Carnagie Institute has made millions teaching communication skills to an industry interested in teaching its employee's to communicate better and increase productivity in a economic sense.

Comedians perfect through hard work and goal setting the composition and delivery of thier craft. To an audience that is very particular.

There are proven ways to present words, financial information, jokes and other forms of communication. (art)

Do new methods come into vogue? Yes! But most new methods fail. Imagine taking it the other way from your example.
Tell the same anecdote by leaving out every other word. Well its okay, because that's the way you want to tell it? Yes according to your account, but people listening wont get much from it. But go ahead if thats what you want.
Composition helps to communicate to a audiance that understands by methods. If you intend to paint to an audiance and convey a message, you have to talk thier language.

By the way:
Composition is defined as:
The noun "objective"
aim, object, objective, target -- (the goal intended to be attained (and which is believed to be attainable)

The adjective "objective"


objective -- (emphasizing or expressing things as perceived without distortion of personal feelings or interpretation; "objective art")

This is closest to what I think you believe I am guessing since in your own bio you say "and decided to try painting without worrying what the results would look like."
So by the noun, objective, you have no goal. So when do you stop? And what do your audiance walk away with?
Note there is no mention of "rules" in my explanation.

One final example: I dont think there is anything wrong with this. Do you?

aseiaehaega]q38130ao'giq48w4=09quv=268q=0u2=0w48
e4-87t284y6m0w4896uw495y8u3w4985yuwb4-968w4trh
r
w
434
3[0w4t78vf9[p8e5yue4590yh

Now if I am trying to write a thesis on relativity I think I just might get a failing grade from most if not all professors. Unless I find one that does not believe in ultimate right and wrong.

:D

[henrik]

henrik as moderator: I am not going to allow this debate to continue in this thread - the two sides had one round each. If you like to continue the general debate on the validity of having any "rules" this it is fine, but not in this thread about Johannes landscape composition article.

[King Rundzap]

Although I don't think this is the right place to have a debate about composition (love to continue this elsewhere) -


I agree, and that wasn't the point. The point is to comment on the article in question, in the context of all of the praise it is receiving in the thread. It's just another critique in the thread, albeit not as positive a critique.


I think what we are trying to preach in this forum is that the so called "rules" are not absolutes and does not tell you right from wrong -


Although the article constantly says "correct", "incorrect", etc. next to images. So it's a bit of a double message, isn't it? I think that not only are they not absolutes, but the suggestions presented in the article, appear to me to be completely arbitrary. That was the main point of my post.


they do however point out consequences of certain design decisions and what you may want to do if you do not like the effect.


Consequences for whom though? Not for my interpretation as a viewer. And not for anyone else that I know personally. The second point in my post above is that maybe the arbitrary suggestions have to be learned--they're perhaps not "natural reactions", and as such, should we really be praising them so vehemently?


For instance; say that you have a dualism in your design where both shapes have equal visual weight. This typically leads to a ping-pong effect.
Do you want the effect - keep it - else don't.

For me, it doesn't lead to any "ping pong effect", and I'm skeptical it does for anyone else, either, unless they've been "socialized into the cult", so to speak. It's not a debate about composition in general, but a critique about this particular article, in a thread that is primarily (positive) critiques of the article.

[King Rundzap]

henrik as moderator: I am not going to allow this debate to continue in this thread - the two sides had one round each. If you like to continue the general debate on the validity of having any "rules" this it is fine, but not in this thread about Johannes landscape composition article.


I couldn't agree more. We should stick to comments about this article in this thread, whether they be positive or negative towards the article.

I'll answer dudleyd's comments about other topics in another thread.

[bigflea]

Too much emphasis on picture making rules, and not enough on principles underlying composition. I am sure some of these are helpful as tips and guidelines for making pictures "better", however there are also many erroneous and contradictory ideas especially in regard to the use of color and value. Sound composition comes from an understanding of the relationship of the abstract elements of design and how they interact within the pictorial format, and from the painter's ability to see or perceive hue relationships that are not visually obvious to the non painter. The author dismisses the possibility that increased perception of color distinctions changes the way composition is approached and solved.
k

[JKM]

Thanks - Theres some really great pointers for beginners like myself here.
I have found this really useful for my latest painting and I am sure I will use it in the future.
:clap: :clap:

James

[geossl]

A very good article on composition.

[zeldapelda]

Just finished reading your article.
Had to sit down and write to thank you taking the time and putting in the effort to post this excellent article.

It is just wonder and inspiring cant wait to start a landscape. :clap: :clap: :clap:

[geossl]

Very good and in depth article

[Joe Cartwright]

Thank you very much Johannes, your article makes a very useful checklist on composition. I enjoyed it very much.
Joe

[Miss J]

How I enjoyed it...you will never know how this has helped me - Thank you Johannes.

[nana b]

This is only my 2nd day here and I am really excited about Landscape Compsition Rules! I need to be doing many other things like cooking dinner but I can't pull myself away from the site! All of this is going to help me a lot. I'm looking over my shoulder thinking I could apply some of it to the still life I'm working on now. I wish I could print it off for future use .

Having said that I'm going back to finish reading and studying the rest of it!

Nana B:clap:

[TFB]

Yes, I too really enjoyed this. Some of the rules I think I do instinctively and it is good to have them confirmed. Being on dial up it has taken me all evening to read, but well worth it!

Thanks Johannes for such an informative article.

T

[acrylicslatehead]

Very interesting and informative. Having only started to paint approx 7 weeks ago, this is a great help to me.
Thank you

[amurphy]

As an absolute beginner, I really found this Rule Book very, very helpful. Sometimes the "artistic licence" that we are allowed will only carry me so far. But now I understand the "suff" in my paintings that is not working, and that is usually the reason, people do not feel the same way about my paintings that I do. These rules that I am unknowingly breaking are the reason why the painting does not work for others. While I am still in awe of the process, {that fact I can actually paint a tree or whatever} but I am not relating it to the rest of the composition. The tree, house, dog, cloud.... While may be well done as a stand alone, can now work better, together, now that I have "the rules"
Thank you very much, Johannes
Audrey

[LarrySeiler]

It has been said, debated often that rules are made to be broken...however, good work to hold its water with issues pertaining to design and composition yet would mandate that one knows what rules are broken and for what intended purpose.

to approach painting haphazardly with the "anything goes..." anthem, and then tout one's right to break rules as though the work should then earn reconsideration of worthiness is not really thinking thru the "rules are made to be broken" comment rationally.

Yes...rules can be broken...but it should be done intentionally, knowledgably with artistic license; a license that will unquestionably validate its holder simply by looking at the finished work.

I created rules years ago for drawing the face. It was based upon readings I did of DaVinci's cadavier studies. The rules said things like, "the length of the eye equals the distance between the eyes, equals the width of the nostrils. The distance from pupil to pupil equals the length of the ear, the length of the relaxed closed mouth, the length of the nose and the distance from the mid mouth to bottom of chin"...and so forth. There were more rules.

My son is a well known internationally recognized caricature artist, doing work for Time magazine, Wall Street, being looked at by Mad comics, and many various enterprizes. Years ago I gave those rules to him...and they became a foundation for him to see where and what the unique features were to each individual. Knowing those rules intimately made the unique features of the person to be drawn instantly known, and gave him a strategy for what he would exaggerate and play with.

The rules led to his knowingly and intentionally stretching or breaking of them.

There are many rules and many approaches to landscape painting and I see many new painters here by their own admission "new" or a beginner.

The growth is ever ongoing...and after 30 years of painting nature and landscapes I yet push myself.

This past weekend I took the advice of Emille Gruppe to use red undertones to build up an underpainting prior to painting the greens of nature, and my son Jason and I went plein air painting.

We were discussing on route to our destination how subtle all the greens of nature are, most showing a hint of red or orange which somewhat neutralizes and controls the green, and how Gruppe was smart with his advice to his students.

For many years I've painted on the fly, weaving the hints of color I saw, bringing color under control with complements and so forth...but for fun I painted the following image using Gruppe's suggestion. Even so...I chose to augment his rule. I broke the reds down into three groupings of dark (using a bit of viridian to deepen the red without changing it), a mid red value, and then a light red (using Naples Yellow and white to avoid a pink).

I underpainted with turps the values of the tree masses in foreground and background using these various reds...and did so taking Gruppe's rule to heart and YET augmenting his rule to use for the benefit I decided would work best for myself.

Here is that painting...an 8"x 8" oil....done in about 1-1/2 hours...

http://www.wetcanvas.com/Community/images/06-May-2006/532-piergorgeMay06_wc.jpg

Note the red coming thru in transparent passages and where I let it come thru in full. Note the harmony and warmth it gives naturally to the work.

I really enjoyed this...and understanding rules helps certainly. Breaking the rules helps even more when you come to understand your OWN WAY of working, and why your instincts lead you to adjust the rules for the sake of convenience.

[veedubya]

That's a beauty, Larry.

[LarrySeiler]

thanks vee... :)

[jbercx]

Larry,

do you also ship you're book to the Netherlands?

[resada]

This is wonderful!!! So informative and clearly explained and illustrated. This is really going to be a valuable resource to me! Thank you for sharing this.

[photobobbie]

Thank you so much for putting together this wonderful article. It gave me so many great ideas to think about. The pictures you added as examples were really a wonderful way to explain the ideas. I've bookmarked this, and I am sure I will refer to it many times.

[Propwash]

Thanks for providing these great tips for improving our landscape paintings. Just read through the complete article and have lots of new ideas to play with; excellent!

Regards
Propwash

[LadyDreamkiller]

Thank you SO much for this fantastic article!

I'm still very much in the learning stages with my painting efforts, and Composition is something that I've been struggling with - and Knew I was struggling with!

There is far to much in this to point out any particular thing that stands out as "so That's why" more than other things. It has given me a fresh perspective on why some of my paintings simply seemed to "work" better than others though. This is more timely in finding, and more appreciated, than you'll ever know!

[uncle cracker]

Great article and lots of help, thanks.

By the way is there a good printable version ?. Kinda hard to sneak that one thru the printer here at work (I do better with a hard copy rather than rereading it off the net).

I did try the posted link and it didn't seem to work.

Thanks.

[dudley_d]

Highlight it, right click, select copy, paste into Word or simular program. select file, then print.

[uncle cracker]

Highlight it, right click, select copy, paste into Word or simular program. select file, then print.

thanks i'll give it a shot- when no ones looking (gotta watch out for those drive by's).

[Islandweaver]

Johannes, you've done a great job of taking down to the essentials whole books on composition and design. Thank you. Having the paintings illustrate the points makes your material even better. I think the sign of a great teacher is in his ability to break down the most complex information into bite-sized pieces for easier consumption. - Diane

[maryl]

Johannes, Thank you so much for the info on composition and disign. I am working on a watercolor right now that is just in the drawing stage and I haven't made it look right in my mind yet, so I am going to go over and over your lessons and see if they soak into my head. I have longhorns and calves and so far two men on horses with a stream in the background andtall trees in the distance. Thanks again. Mary

[Catherine McLaren]

As a beginner I really enjoyed info given in such a concise and easy to understand format. Illustrations were great. Lots of valuable and helpful hints. I will be revisiting site often to memorise and use tips. Thanks. Scottie

[LarrySeiler]

Larry,

do you also ship you're book to the Netherlands?


sorry I didn't get back to you here...

the book ships all over the world..

perhaps Siberia has been the most distant land yet.. :)

thanks

[dhonegger]

I have searched this entire thread and somehow have not been able to find the article that everyone is raving about. Back in 2003 when it was first posted, the link no longer works. Can someone please tell me where I can go to find the article? Or is it no longer available in an article and is now a book, as I've seen referenced?

Diane

[GeoBen]

yeah, me too... just beginning to think of doing landscapes and would really love to read this article.

geo.

[LarrySeiler]

I have searched this entire thread and somehow have not been able to find the article that everyone is raving about. Back in 2003 when it was first posted, the link no longer works. Can someone please tell me where I can go to find the article? Or is it no longer available in an article and is now a book, as I've seen referenced?

Diane

okay folks...
every forum has a Channel...and if you look above each Wetcanvas page there is a place to scroll thru the channels.

the landscape "channel" has articles, as does the Composition forum...and this was an article written on the Landscape rules...

http://www.wetcanvas.com/Articles2/135/120/

if you do not bookmark this...again, just look in the channel...

[ranger05]

Thank you so much for all of this, I cannot tell you how much it will help me! :clap: I have bookmarked it and hope it is never taken off! Edyth in Texas

[LarrySeiler]

:thumbsup:

[karard]

Thank you for doing a very good job of defining the technical aspects of landscape painting, but painters should also be aware that these tech tips should used to help convey the painter's idea (concept). The idea must come first, and composition is a tool used to help convey the idea to the viewer. The quality of a work is determined by the importance of the idea relative to today's social attitudes and how well the artist has brought his idea to the viewer.

[LarrySeiler]

The quality of a work is determined by the importance of the idea relative to today's social attitudes and how well the artist has brought his idea to the viewer.

I'd agree with most of what you said, but...if our relavant social times and mores slips arguably into modes of mediocrity ...I guess I'd argue how important this determinant would be. In which case, I'd rather produce a work that would have found approval from past artists I admired and would prefer as mentors, past ideas of excellence and mores, and so forth.

Whenever an "ought" is suggested...which you have here, I have to ask myself why ought the ought ought to be? What ultimately makes a right right and a wrong wrong?

We have at best an example to better understand your mores...but they wouldn't succeed to define an essential ought for everyone's sense of that which should be ideal composition.

Not to argue...as I said I agree with most of what you have said, but if we're not careful...there is a tone of insistence with the wording as you have it that has not the authority to shackle or bind. Gives us an interesting premise to perhaps study your work and the works of those you might admire.

It may well be we don't believe the vast enculturation of the modern possesses the taste we wish to have our work judged by. Its not always a bad thing to be outdated or passe´...in fact, I'm motivated to imagine I'd have an occasional nod from Edgar Payne or Emile Gruppe...

peace

[ggordon]

Thank you Johannes. Tremendous help.
Everyone, instead of finding ways to reformat and print it . . how about an old fashioned pencil and paper. You will ponder and retain the information ten fold.

[jmcedeno]

Hi, Folks very exciting discussion, it really "hits home". I also have read and studied Johannes article and have added to my library, thank you Johannes. All I have learned so far about composition and painting of Landscapes has been by studying these books:
1. COMPOSITION OF OUTDOOR PAINTING by Edgar Payne
2. CARLSON'S GUIDE TO LANDSCAPE PAINTING by John Carlson
3. OIL PAINTING SOLUTION BOOK FOR LANDSCAPES by Elizabeth Tooley
4. DISCOVERING OIL PAINTING by George Chevepov
5. LANDSCAPE IN WATERCOLOR by Wendon Blake
6. KEYS TO SUCCESSFUL LANDSCAPE PAINTING by Foster Cadell
7. KEYS TO SUCCESSFUL COLOR by Foster Cadell
8. PAINTING THE IMPRESSIONIST LANDSCAPE by Lois Griffel
9. PAINTING BETTER LANDSCAPES by Margaret Kessler
10. PAINTING LANDSCAPES by Harry R. Ballinger
11. TREES AND LANDSCAPES by Ted Kautzky
I'm sure that they will help the beginner as well as the advanced painter.

[abadami]

Wonderful, informative article.
Anita

[lastborn]

These were wonderful guidelines. I have read so much from famous painters about how nature must be your guide and your constant study, but I can see more clearly now that sometimes nature does not give us the most beautiful thing after all. It tantalizes us, i guess, occassional fabulou composition and many many near misses. God is fortunate to have a huge canvas and light emitting shapes in his landscapes. Sound, wind, all of that that we don't have, so we have to create a beautiful scene everytime, not just some of the time. Thanks so much. A.

[allegretto]

Thank you! Thank you! Thank you! The time and work you put into this wonderful tutorial are greatly appreciated. I did a copy/paste to a word document of all your 39 points, so I can keep them in my studio.
Again, thank you for sharing .
Happy Painting!
Ciao, Pam

[blueandpurple]

A very big thank you for sharing your knowledge, all the things I thought I knew and often forgot to apply. Next time I get stuck with the feeling "not quite right", I can go straight to your pages.

[paintedcowgirl]

I love this article!!! Got it saved for future reference. Thank you

[mmmaxie]

There is an embarrassment of riches here. I also photograph, and was struck by how many of these principles work in photography as well. In painting, one can bend a tree or put a curve in a stream. In photography, one must walk around so that the camera captures a compositionally strong scene.

[redwoodlady]

I've finished Page 16, and I could not tear loose before now to post. I've been painting for a long time and have always been dissatisfied with my end result. I already see what my problems have been. My work will improve leaps and bounds now, thank you very much. I'm enthused about reading from Page 17 on. :clap:

[sterjane]

I obviously have not looked hard enough at some of the threads in this forum. Thank you, Johannes. This is an amazing contribution. Esther