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OIL
OF THE WORLD
W
hile designing a successful
landscape composition seems
complex, I have identi ed principles
that simplify the task.
Within the foreground, the middle
ground and the background of a
thumbnail sketch, I determine the
relative sizes of three large shape masses
and which one will be most prominent:
the sky, horizontal planes (usually
in the foreground, e.g., grasses) and
vertical planes (trees, mountains, cli s).
Next, I determine predominate
values for each of these masses. While
painting, I consider three value ranges:
mid-light for the sky; mid-value, the
range for rich color, such as for a eld
or a mountain far in the distance; and
mid-dark, for trees, cli s, hills and
possibly a closer mountain. With these
Simplifying complex
compositions
Johannes Vloothuis
CANADA
MASTER PAINTERS
Time to Pack it In, oil, 16 x 20" (40 x 51 cm)
Moody paintings always attract viewers. As I drove down a country road, I was able to capture this sunset
in just the right spot. The icy stream was a fantastic visual path. Turning lights on in buildings adds so
much interest in late evening scenes. To create the texture of the grass, I applied a thin wash of a darker
color. After it dried, I drybrushed the lighter value on top. This formed convincing grass clumps. My
brushwork created a rhythm pattern in the fi eld to lead the eye all the way to the buildings.
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