How to obtain a dramatic interest in a landscape

by Tissa Hewavitarane

James McNeil Whistler, the famous landscape painter, was right when he said, "Seldom does nature succeed in producing a picture." What he meant was that a scene which is breathtaking to the naked eye may appear less exciting when it is translated into paint on a square sheet of paper.

Often, it isn't enough simply to copy the subject in front of you, sometimes you may have to add, subtract or re-group some of the elements in the scene to create a more balanced image.

It is simply the means of arranging the parts of your picture so that they add up to a harmonious whole. A badly composed picture will look disjointed and faintly irritating. A well composed picture fits together in a satisfying way and pleasing to your eye. Just as a play or film often has one main character and a supporting cast, so a picture should have one focal point - that is, one spot that draws the eye and which carries the main theme of the painting - supported by shapes and colours of secondary interest.

Balance and unity

This is what gives balance and unity to the painting. When planning the composition of a painting always ask yourself, "What do I want to emphasise and how should I emphasise it?" There are many ways to draw attention to the focal point which is a must. There may be something in common to generate excitement in the area. Choosing the focal point of your painting and planning ways to accentuate it are the keys to a good design.

To capture and hold the attention of your viewer, always try to design rhythmic lines that flow into the centre of interest from the edges of the picture. If the composition presented by nature is not always ideal, you must choose your viewpoint carefully and be prepared to alter the arrangement of things in the interest of making a more balanced and coherent image.

Observe the painting I have done here. First, the focal point, the hut is placed just off centre on top of a hill, thus creating a balance without boredom.

Note how everything is designed to lead the eye to the focal point, the mountain sweeps downwards from the top of the picture while heavy trees give shade to the hut from behind and at bottom left terraced paddy fields give an impression of depth.

The whole picture is beautifully choreographed to guide the eye without being obstrusive. Figures can make or mar a landscape.

It is always a big decision as to whether to put figures in a landscape or not.

Be sure that whatever figure you do put in is an integral part of the picture. They can be used in different ways to give life, movement and scale to a scene.

Notice the tiny figure I have done of a man seated in front of the hut.

To show up properly a dark figure of the man is introduced on a white background.

To add more life I have put a cow in silhouetle climbing towards the hut.

When you put figures of an animal or man, be sure they're in the correct scale to each other. The mountain range at the distance completes the picture as a magnificent stretch of scenery.

Dramatic interest

The most dynamic way to create a dramatic interest is by contrasting the lightest and darkest tones to suit the panoramic view of nature into a striking picture. The scene here shows how to contrast the darkest and lightest tones attracking the eye. Harmonious colours and tones give clarity and strength to the image.

The light tone of the road with steps leads the eye to the focal point.

The trees with dark shapes echo and provide a link between the blues of the sky and the greens of the landscape.

A flat plain wash gives prominence to the sky.

Painting a watercolour landscape requires patience, constant practice and a high degree of planning and forethought. Since watercolours are transparent you can't paint a light colour over a dark as the darker colour will show through.

Light and dark

This means that you have to know in advance which areas of the picture are going to be light and which are going to be dark and to be prepared to work methodically from light to dark. If you don't plan things carefully, you may lose control of the painting.

If you make a wrong move you could find yourself in big trouble.

It's for this reason that so many people are reluctant to take up this medium to work, only to end up frustrated and disappointed when things don't work out quite well as they had planned.

We must learn not only the techniques of applying the paint to the paper, but also we must learn how to look at things with a keen eye. Constant practice is the only way to get good results.