Explore Oil Painting Techniques for Landscapes

If you’ve ever stood in front of a breathtaking landscape and thought, “I wish I could capture this on canvas,” you’re not alone. I’ve been there too—armed with brushes, tubes of paint, and a head full of dreams, only to realize that painting natural scenes is a bit trickier than it looks. But hey, that’s the fun part! Today, I’m sharing my go-to painting natural scenes guide, packed with tips and tricks to help you bring those landscapes to life with oil paints. And yes, I’ll even sprinkle in some humor because, let’s face it, art should be fun, not frustrating.

Getting Started: The Basics of Painting Natural Scenes Guide

Before you dive headfirst into your next masterpiece, it’s important to get the basics down. Oil painting is a slow dance with your canvas—patience is key. Here’s what I always keep in mind:

• Choose your scene wisely. Start with something simple—a quiet field, a calm lake, or a gentle hill. Complex cityscapes can wait.

• Gather your materials. You’ll need quality oil paints, brushes of various sizes, a palette, linseed oil or another medium, and a sturdy canvas.

• Set up your workspace. Good lighting is a must. Natural light is ideal, but a daylight lamp works wonders on gloomy days.

• Sketch lightly. Use a pencil or thinned paint to outline your composition. This saves you from the dreaded “what was I thinking?” moments later.

  
  

Once you have these basics down, you’re ready to explore the magic of oil painting.

Basic landscape sketch on canvas

Mastering Color and Light in Your Painting Natural Scenes Guide

Color and light are the heart and soul of any landscape painting. They set the mood and tell the story. Here’s how I tackle them:

• Start with a limited palette. Too many colors can overwhelm you. I usually stick to a few earth tones, a couple of blues, and a splash of green.

• Mix your colors carefully. Don’t just grab paint straight from the tube. Mix on your palette to get the exact shade you want.

• Observe the light source. Is it morning, noon, or sunset? The light changes everything—from shadows to highlights.

• Use warm and cool colors to create depth. Warm colors (reds, oranges) tend to come forward, while cool colors (blues, greens) recede.

  
  

Remember, landscapes are all about atmosphere. Don’t be afraid to exaggerate colors a bit to capture the feeling rather than the exact look.

Mixed oil paints on palette for landscape

Layering and Texture: Bringing Your Landscape to Life

One of the best things about oil paint is its texture. You can build layers, add thickness, and create a tactile experience that draws viewers in. Here’s my layering strategy:

1. Underpainting: Start with a thin, monochromatic layer to map out your values (lights and darks). This is your painting’s skeleton.

2. Blocking in colors: Add your main colors in broad strokes. Don’t worry about details yet.

3. Building layers: Gradually add more paint, thicker and more detailed. Use a palette knife or stiff brush for texture.

4. Final touches: Add highlights and fine details last. This is where your painting really pops.

   
   

Pro tip: Let each layer dry a bit before adding the next. Oil paint takes its sweet time, but patience pays off.

Textured oil painting with thick brush strokes

Why I Love Oil Painting Techniques for Landscapes

Now, I have to confess something—I’m a bit of a technique junkie. I love experimenting with different ways to paint natural scenes. One resource that’s been a game-changer for me is this fantastic guide on oil painting techniques for landscapes. It breaks down everything from brushwork to color mixing in a way that even a self-proclaimed paint klutz like me can understand.

What I appreciate most is how it encourages you to find your own style. Whether you’re into soft, dreamy fields or bold, dramatic mountains, there’s something in there for you. Plus, the tips on layering and glazing have seriously upped my game.

If you’re looking to deepen your skills or just want some fresh inspiration, I highly recommend checking it out.

Tools of the Trade: Brushes, Mediums, and More

Let’s talk gear. You don’t need a fancy studio or expensive supplies to get started, but having the right tools makes a huge difference.

• Brushes: I use a mix of flats, rounds, and filberts. Flats are great for broad strokes, rounds for details, and filberts for soft edges.

• Palette knives: Perfect for mixing and adding texture. Plus, they’re fun to use when you want to feel like a paint-wielding wizard.

• Mediums: Linseed oil is my go-to for thinning paint and adding gloss. But don’t be shy to try others like walnut oil or stand oil.

• Canvas: Pre-stretched canvases are convenient, but I also enjoy painting on linen for a smoother finish.

  
  

Remember, your tools are your friends. Treat them well, clean your brushes properly, and they’ll serve you for years.

Making Your Landscape Painting Unique and Personal

Here’s the secret sauce—your painting should tell a story only you can tell. Don’t just copy what you see. Add your twist:

• Play with colors that speak to you, not just what’s “real.”

• Experiment with brush strokes—try dabbing, swirling, or even splattering.

• Incorporate unexpected elements like a pop of color or an unusual shape.

• Let your mood guide your painting. Feeling calm? Soft blues and gentle strokes. Feeling bold? Go wild with reds and thick paint.

  
  

This personal touch is what makes your work stand out to collectors and art lovers alike.

Final Thoughts on Painting Natural Scenes Guide

Painting landscapes with oils is a journey—sometimes smooth, sometimes bumpy, but always rewarding. With a bit of practice, patience, and a willingness to play, you’ll find your own rhythm and style. And who knows? Maybe your next painting will be the perfect piece for a cozy living room or a unique gift that someone treasures forever.

So grab your brushes, mix those colors, and dive into the wonderful world of oil painting. Your canvas is waiting!

If you want to explore more about oil painting and see some inspiring works, don’t forget to visit Ayal Armon’s site. Her journey and creations are a beautiful reminder of how art connects us all.

Happy painting!

The background

Being that the subject, John travelled extensively around the world, I wanted to incorporate it in the painting. At first I thought of adding a globe next to him, but on second thought I came up with an old world map that will be in the back.

After drawing it I used gold leaf for the continents which I knew I would glaze so it will look like an old map.

The oceans were painted with light browns as a basic color.

Next I painted his robe in light brown.

The face was painted . Once I got the eyes, painting the rest of the face was rather easy.

I paint in basic flesh colors which I will glaze later on the indicate light and shadow.

Next I painted the hands. I try not to over blend and once the brush stroke hit the canvas, I tend to leave it alone.

I started dropping highlights on the robe with light napels yellow.

The face started getting some shadows and more definitions in the eyes.

The next stage will be in the next blog.

So stay tuned.

Ayal

The eyes

Before I start the painting I usually mix my palette.

I mix skin tones in three shades. Dark, medium and light.

I use flesh tone, light napels yellow, white, Chinese red and gold transparent ochre.

I also use Asphaltum and Van dyke brown for the darkest tones.

I start with the eyes.

When working on a portrait if I get the eyes right and get the subject looking back at me, then the rest is easy. If the eyes are not working out, I can spend as much time as I want on the portrait. Its not going to work.

Starting is always hard for me. I’ve done it before, yet before I get in the groove it’s as if I have never done it, I have no idea what I am doing, I want my mommy, waaaaa, I am thirsty, yes I’ll make some coffee, oh my it’s the wrong color and then it works.

Now I have to pee.

Now for the second eye.

I studied for my graduate degree at Pratt Institute in NY. When I started I never used oil paint before, water media was a no no, so I used to do a very detail sketch of whatever I was painting and then would paint it, rendering every detail.

Later on I took classes at the New York Academy of art, and learned how to loosen up and do a rough sketch of the subject. I still work like that.

I do not render the images any more.

I let the brush strokes be visible. It's my hand writing sort of and I let the paint and brush do their work and try to stay out of it.

Sounds easy, but it took years to get to this simple place.

For me when someone says that a painting looks like a photo, it's not a compliment.

I want my painting to look like a painting.

For photos I have a camera.

Till next time.

Ayal